SPECIAL  EXHIBITION  CATALOGUE 


Series  1912;  No.  2 


Price  10  Cents 


A COLLECTION  OF  WORKS  BY 
MEMBERS  OF  THE  SOCIETE  DES 
PEINTRES  ET  DES  SCULPTEURS 


OPENING  SUNDAY,  FEBRUARY  4,  1912 


CITY  ART  MUSEUM 
OF  ST.  LOUIS 


anxa 


2634 


257 


The  city  art  museum  is  open 

TO  THE  PUBLIC,  FREE,  EVERY 
DAY,  INCLUDING  SUNDAYS,  FROM 
TEN  O’CLOCK  A.  M.  UNTIL  FIVE 
O’CLOCK  P.  M. 


EMILE  RENE  MENARD 
100 


3 


127  The  Sphinx 


AUGUSTE  RODIN 


Lent  by  Mrs.  Eugene  Meyer,  New  York 


4 


SPECIAL  EXHIBITION  CATALOGUE 


Series  1912;  No.  2 


THE 

CITY  ART  MUSEUM 
ST.  LOUIS 


AN  EXHIBITION  OF  PAINTINGS  AND  DRAWINGS 
AND  SCULPTURE 

BY  THE  MEMBERS  OF  THE 
SOCIETE  DES  PEINTRES  ET  DES  SCULPTEURS 

(Formerly  the  Societe  Nouvelle) 


OPENING  SUNDAY  MORNING,  FEBRUARY  4,  1912,  AT 
TEN  O’CLOCK,  IN  GALLERIES  EIGHTEEN,  NINETEEN, 
THIRTY  AND  THIRTY-ONE,  IN  THE  WEST  WING 


1874 


1912 


THE  CITY  ART  MUSEUM,  ST,  LOUIS 


BOARD  OF  CONTROL 


WILLIAM  K.  BIXBY 
President 

DAVID  R.  FRANCIS 
Vice-President 

WILLIAM  H.  LEE 

GEORGE  L.  ALLEN 

THOMAS  H.  WEST 

DANIEL  CATLIN 

EX-OFFICIO: 

FREDERICK  H.  KREISMANN 

as  Mayor 

BENJAMIN  J.  TAUSSIG 

as  Comptroller 

DWIGHT  F.  DAVIS 

as  Park  Commissioner 


R.  A.  HOLLAND 
Acting  Director 

MADELEINE  BORGGRAEFE 
Secretary 


6 


Exhibition  of  the  Societe  des  Peintres  et  des  Sculpteurs 


AS  IS  USUAL  in  museum  exhibitions  of  paintings  bor- 
rowed from  the  country’s  studios,  or  from  artists  of  other 
lands,  many  of  the  works  in  the  City  Art  Museum’s 
special  exhibitions  are  for  sale,  on  behalf  of  the  artists.  The 
commissions  usually  charged  by  American  museums  for  sales  of 
exhibits  amount  to  from  ten  per  cent  to  thirty  per  cent  (the  pro- 
ceeds going  to  the  acquisition  funds) . But  as  the  City  Art  Museum 
is  a municipal  institution,  no  commissions  will  be  charged;  and  any 
officer  or  employe  of  the  Museum  will  gladly  advise  any  resident 
of  St.  Louis  in  regard  to  the  purchase  of  such  pictures,  and  either 
correspond  with  the  artist  or  give  the  artist’s  address  to  any  citizen 
of  St.  Louis;  and  no  commission  or  compensation  of  any  kind  will 
be  charged  for  such  service. 

The  obligation  which  the  City  Art  Museum  is  under  to  the 
Artists  and  other  owners  from  whom  so  many  and  so  valuable  art 
works  continually  are  borrowed  is  appreciatively  acknowledged; 
and  community  of  interest  between  the  Artists  who  thus  contribute 
to  our  exhibitions,  and  the  Public  of  the  City;  in  order  that  we  may 
have  the  benefit  of  the  best  exhibitions,  is  respectfully  pointed  out. 

The  acquisition  of  good  pictures,  it  respectfully  is  suggested,  is 
a most  effective  way  of  enhancing  the  reputation  of  St.  Louis  as  an 
art  appreciative  city. 

The  City  Art  Museum  is  OPEN  TO  THE  PUBLIC,  FREE, 
EVERY  DAY,  including  Sundays,  from  ten  o’clock  A.  M.  to 
five  o’clock  P.  M. 


EUGENE  CARRIERE 
32  Child  Smiling 


8 


JACQUES  EMILE  BLANCHE 


18  Salome 


10 


EMILE  RENE  MENARD 


JACQUES  EMIL  BLANCHE 

22  Portrait  of  Henry  James 


12 


Exhibition  of  the  Societe  des  Peintres  et  des  Sculpteurs 


WELCOMING  to  St.  Louis  these  works  by  members  of 
the  Societe  des  Peintres  et  des  Sculpteurs,  the  first 
exhibition  of  the  Societe  on  the  American  side  of  the 
Atlantic,  the  City  Art  Museum  desires  to  express  its  hearty 
appreciation  of  the  generous  spirit  in  which  the  members  of 
the  Societe  and  authorities  and  friends  of  art  in  France  have 
extended  their  cooperation  to  enable  us  to  contemplate  in 
such  representative  selections  the  art  of  so  important  a sec- 
tion of  the  French  painters  and  sculptors  of  our  time. 

This  notable  exhibition  is  arranged  cooperatively  for  three 
American  museums,  the  Buffalo  Fine  Arts  Academy,  the  Art 
Institute  of  Chicago,  and  the  City  Art  Museum.  The  collection 
already  has  been  seen  in  the  Buffalo  and  Chicago  institutions. 
It  has  attracted  attention  far  beyond  these  cities,  however, 
and  excited  much  interest  in  the  country.  Thus  papers  in 
New  York  City  have  devoted  many  pages  to  its  illustration 
and  to  comment  upon  it,  and  a demand  has  arisen  for  its 
exhibition  there  if  possible.  St.  Louis  therefore  enjoys  a 
privilege  in  seeing  these  works. 

The  City  Art  Museum  is  indebted  to  the  cooperation  of  the 
Buffalo  Fine  Arts  Academy,  and  to  the  personal  efforts  of 
Miss  Cornelia  Bentley  Sage,  Director  of  that  Academy,  for 
the  opportunity  to  show  these  pictures.  The  story  of  the 
successful  effort  made  by  Miss  Sage  to  interest  the  European 
artists  and  authorities  is  told  by  her  on  another  page. 

The  City  Art  Museum  has  to  express  appreciative  thanks 
for  the  assistance  thus  received  in  its  educational  work  of 
fostering  the  true  estimation  of  the  arts,  and  the  phases  of 
art,  in  this  city.  To  the  members  of  the  Societe  des  Peintres 
et  des  Sculpteurs,  the  art-loving  public  of  St.  Louis  as  well 
as  the  authorities  of  the  Museum  will  be  grateful.  Only  those 
familiar  with  the  detail  and  the  difficulty  of  such  work  can 
appreciate  the  services  rendered  to  American  art  by  Miss 
Sage  and  the  leaders  of  French  art  who  have  cooperated  with 
her,  including,  especially,  the  French  Government,  and  Mon- 
sieur Leonce  Benedite,  Director  of  the  Luxembourg.  The  City 
Art  Museum  also  is  obligated  to  the  Art  Institute  of  Chicago 
for  cooperation  and  courtesies  in  this  connection. 


13 


EDMOND  AMAN-JEAN 

6 Portrait  of  Madame  Aman-Jean 

Lent  from  the  Luxembourg  Gallery 


14 


Exhibition  of  the  Societe  des  Peintres  et  des  Sculpteurs 


The  biographical  and  critical  information  in  the  following 
pages,  prepared  by  Miss  Sage,  will  be  valuable  to  students. 
Such  a presentation,  of  so  important  a group  of  the  artists 
of  a country  so  great  in  art,  will  be  recognized  by  many  to 
be  worthy  of  preservation.  Like  the  catalogue  of  the  exhibi- 
tion of  paintings  by  another  great  French  group,  the  Impres- 
sionist School  and  artists  associable  with  them,  which  was 
the  work  of  the  late  Dr.  Charles  M.  Kurtz,  this  little  volume 
treats  of  a very  notable  contemporary  movement,  and,  illus- 
trated by  the  examples  in  the  galleries,  places  in  the  hands 
of  the  people  a fine  opportunity  to  study  the  art  of  France. 


The  City  Art  Museum 


St.  Louis 


THE  ARTISTS  CONTRIBUTING  TO 
THE  EXHIBITION 

Members  of  the  Societe  des  Peintres  et  des  Sculpteurs 


John  W.  Alexander 

Walter  Gay 

Edmond  Aman-Jean 

Eugene  Lagare 

Albert  Baertsoen 

Gaston  La  Touche 

Paul  Albert  Besnard 

Henri  Eugene  Sidaner 

Jacques  Emile  Blanche 

Henri  Martin 

Eugene  Carriere 

Emile  Rene  Menard 

Emile  Claus 

James  Wilson  Morrice 

Charles  Cottet 

Mlle.  Jeanne  Poupelet 

Andre  Dauchez 

Rene-Xavier  Prinet 

Louis  Dejean 

Jean-Francois  Raffaelli 

Antonio  de  La  Gandara 

Auguste  Rodin 

Charles  Albert  Despiau 

Lucien  Simon 

Henri  Duhem 

Paul  Troubetzkoy 

Raoul-Andre  Ulmann 

Non -members 


Emile  Bourdelle 

Fix-Masseau 

George  Desvallieres 

Louis  Auguste  Lepere 

16 


Exhibition  of  the  Societe  des  Peintres  et  des  Sculpteurs 


WORKS  ILLUSTRATED 

Artist  'Pitle  and  Number  Page 

John  W.  Alexander:  1 At  the  Window 89 

Edmond  Aman-Jean:  4 The  Kid 1 

6 Portrait  of  Madame  Aman-jean 14 

Albert  Baertsoen:  13  Street  at  Bruges 75 

Albert  Besnard:  16  Portrait  of  Ex-Senator  Clark 85 

Jacques  Emile  Blanche:  24  Portrait  of  the  Marquis  of  Granby  72 

18  Salome 9 

Eugene  Carriere:  32  Child  Smiling 8 

30  Self-Portrait 34 

Emile  Claus:  38  The  Gray  Cow 80 

Charles  Cottet:  41  Pardon  of  St.  Ann  La  Paiud 92 

55  The  Land  of  the  Sea : Triptych 23 

57  Mourning:  Brittany 81 

Andre  Dauchez:  61  The  Bay  of  Combrit 79 

Louis  Dejean:  63  The  Woman  and  the  Source 94 

Charles  Albert  Despiau  : 64  Torso  of  a Bacchante 95 

George  Desvallieres:  157  Girl  in  Black 83 

Henri  Duhem:  65  The  Flock  Passing  the  Road 74 

Antonio  de  La  Gandara:  74  Portrait  of  Miss  D 87 

Eugene  Lagare:  80  Head  of  a Young  Girl 93 

Gaston  La  Touche:  84  The  Visit  of  the  Princess  Royale.  . . 78 

85  Landscape 2 

Louis  Auguste  Lepere:  162  Landscape 71 

Henri  Martin:  97  An  Old  House 73 

Emile  Rene  Menard:  108  The  Judgment  of  Paris 88 

99  Hylas.  10 

100  Bucolique 3 

James  Wilson  Morrice:  109  The  Place  Chateau  Brigand..  82 

114  On  the  Beach 76 

Mlle.  Jeanne  Poupelet:  119  Rabbit 91 

Rene-Xavier  Prinet:  120  The  Amazons 70 

Jean-Francois  Raffaelli:  123  Les  Champs  Elysees 90 

Auguste  Rodin:  126  Danaide 22 

127  The  Sphinx 4 

Lucien  Simon:  139  Comedy 77 

Paul  Troubetzkoy:  145  Portrait  of  Gabriel  D’Annunzio.  . . 86 

Raoul-Andre  Ulmann:  153  Evening  on  the  Zaam 84 


AUGUSTE  RODIN 
President,  Societe  Nouvelle 

From  Photograph  by  E (hoard  Steichen 


18 


PREFATORY 


BY 


Miss  Cornelia  Bentley  Sage 

Art  Director  of  the 
Buffalo  Fine  Arts  Academy 

ROPERLY  to  judge  any  art  movement,  it  is  most 


essential  to  study  the  conditions  that  existed 


at  the  time  Avhen  such  a movement  started  and 
to  analyze  the  natures  that  called  it  into  existence. 
France  has  been  the  scene  of  the  art  struggle  for  a cen- 
tury. Absolutely  robbed  of  all  feeling  by  the  classical 
Academic  School,  for  a time  art  seemed  doomed,  but  in 
addition  to  the  brilliant  work  done  by  the  French 
Impressionists,  who  form  a school  unto  themselves,  a 
new  element  has  come  forward,  essentially  sincere  and 
immensely  interesting,  and  strong  in  its  appeal,  espe- 
cially7 to  Americans.  In  this  school,  efforts  to  evade 
the  usual  and  commonplace  are  plainly  evident,  and 
its  aim  is  to  give  to  the  world  feeling,  forcefulness,  and 
color,  with  a handling  that  is  interesting,  yTt  not  too 
minute  nor,  on  the  other  hand,  too  careless. 

This  important  group  of  men,.. which  is  known  as  the 
Societe  Nouvelle,  includes  both  painters  and  sculptors, 
and  has  the.  distinction  of  claiming  Rodin  as  its  presi- 
dent. It  is  today  emphatically  the  strongest  and  most 
homogeneous  of  the  numerous  societies  whose  various 
exhibitions  follow  one  after  the  other  in  the  Paris  gal- 
leries. This  group  achieves  the  difficult  feat  of  uniting 
no  less  than  thirty  artists  who  are  all  men  of  great 
talent;  nearly  all  the  members  are  French,  but  America 
has  the  honor  of  contributing  three  celebrated  painters, 


19 


The  City  Art  Museum 


St.  Louis 


John  Alexander,  Walter  Gay,  and  John  Sargent; 
Canada  gives  it  J.  W.  Morrice;  Russia,  Prince  Paul 
Troubetzkoy;  and  Belgium  two  or  three  of  her  most 
able  men. 

It  was  by  reason  of  its  greatness  and  because  the 
work  of  the  men  in  the  Societe  Nouvelle  is  always 
worthy  of  sincere  study,  and  produces  great  enthusiasm 
on  the  part  of  artists  and  art  students,  that  the 
I )irector  of  the  Albright  Art  Gallery  singled  it  out  and 
went  to  Paris  to  bring  over  work  by  each  member  of 
the  Societe  for  exhibition  at  the  Albright  Art  Gallery, 
the  Chicago  Art  Institute,  and  the  City  Art  Museum 
of  St.  Louis.  In  order  to  accomplish  the  task,  it  was 
necessary  to  meet  and  win  the  confidence  of  all  the 
artists  and  collectors,  the  directors  of  the  Louvre  and 
Luxembourg,  and  the  directors  of  the  Georges  Petit 
Galleries,  where  this  great  group  holds  its  annual 
exhibition  in  Paris  every  March.  The  importance  and 
magnitude  of  an  exhibition  by  these  painters  to  Amer- 
ica can  scarcely  be  conceived.  It  was  known  that  the 
Societe  Nouvelle  had  never  been  willing  to  leave  Paris, 
even  to  exhibit  in  its  neighboring  European  countries — 
yet  the  Director  of  the  Albright  Art  Gallery  felt  it 
worthy  of  a trial  for  the  chance  of  its  accomplishment. 
All  the  studios  were  visited,  not  only  in  Paris,  but  in 
Meudon,  where  Rodin  creates;  in  Saint-Cloud,  where 
La  Touche  paints — inspired  by  the  lingering  influence 
of  Marie  Antoinette  for  sylvan  scenes  and  fetes — and 
in  various  out-of-town  studios,  where  the  members  of 
the  Societe  Nouvelle  have  their  summer  residences. 
The  artists  were  one  and  all  courteous  and  charming, 
but  two  difficulties  eclipsed  all  the  others;  first,  no  one 
was  anxious  to  have  his  works  go  so  far;  secondly, 


20 


Exhibition  of  the  Societe  des  Peintres  et  des  Sculpteurs 


these  men  have  such  an  international  reputation  that 
the  majority  of  their  paintings  have  been  purchased  in 
Paris  and  carried  to  distant  countries  for  important 
private  collections  and  museums.  Rodin  is  personally 
sending  three  bronzes  from  his  studio.  Through  the 
intercession  of  Monsieur  Charles  Cottet,  a group  of 
ten  works  by  the  late  Eugene  Carriere  is  included — 
Madame  Carriere  herself  contributing  family  portraits; 
and  a special  privilege  was  accorded  by  the  Luxem 
bourg  authorities,  who  through  their  Director,  Mon- 
sieur Leonce  Benedite,  have  lent  important  works  by 
Aman-Jean,  Walter  Gay,  Lucien  Simon,  and  Lepere. 
Such  a favor  has  never  been  granted  before.  At  first 
the  Paris  world  of  art  was  evasive,  but  finally  became 
enthusiastic  and  joined  feelingly  and  helpfully  with 
the  Director  of  the  Albright  Art  Gallery  in  all  of  her 
strenuous  efforts  for  this  exhibition.  The  thanks  of  the 
Buffalo  Fine  Arts  Academy,  Albright  Art  Gallery,  and 
its  Director  are  tendered  to  the  artists  represented,  the 
collectors  and  dealers,  who  have  so  generously  lent  pic- 
tures, the  Directors  of  the  Louvre  and  Luxembourg, 
the  French  Government  Officials,  the  Georges  Petit  Gal- 
leries, and  to  those  persons  in  France  and  elsewhere 
who  have  given  sympathetic  co-operation  in  the  work  of 
organizing  the  first  Exhibition  of  the  Societe  Nouvelle 
in  America. 


21 


22 


AUGUSTE  RODIN 


Exhibition  of  the  Societe  des  Peintres  et  des  Sculpteurs 


Charles  Cottet:  55  The  Land  of  the  Sea 


ARTISTS  AND  TITLES 


JOHN  W.  ALEXANDER 

John  W.  Alexander,  one  of  the  American  members  of  the 
Societe  Nouvelle,  of  France,  was  born  in  Pittsburgh  in 
1856,  and  studied  first  at  the  Munich  Royal  Academy,  later 
under  Frank  Duveneck.  He  is  an  associate  member  of 
Societe  Nationale  des  Beaux-Arts  and  of  the  Royal  Belgian 
Society  of  the  Fine  Arts;  an  honorary  member  of  the 
Vienna  and  Munich  Secession  Societies;  president  of  the 
National  Academy  of  Design,  New  York;  Chevalier  of  the 
Legion  of  Honor;  honorary  M.  A.  and  Lift.  D.  from  Prince- 
ton; and  has  won  Temple  Gold  Medal,  Philadelphia,  1897; 
Lippincott  Prize,  Pennsylvania  Academy  of  the  Fine  Arts, 
Philadelphia,  1899;  gold  medal,  Paris  Universal  Exposition, 
1900;  Carnegie  Prize,  Society  of  American  Artists,  New 
York,  1901;  gold  medal,  Pan-American  Exposition,  Buffalo, 
1901;  gold  medal  of  honor,  Pennsylvania  Academy  of  the 
Fine  Arts,  Philadelphia,  1903;  Corcoran  Prize,  Washington, 
D.  C.,  1903;  gold  medal,  Universal  Exposition,  St.  Louis, 
1904;  and  has  won  so  many  other  honors,  and  is  a member 
and  president  of  so  many  societies,  that  space  prevents 
their  mention.  He  is  represented  in  practically  every 
important  American  museum,  as  well  as  in  the  Luxem- 
bourg, Paris,  Museums  of  St.  Petersburg,  Vienna  and 
Odessa.  Numerous  private  collections  also  contain  his  por- 
traits and  other  paintings.  He  is  one  of  the  original  mem- 
bers of  the  Societe  Nouvelle  and  has  always  been  deeply  in 
sympathy  with  their  aims  and  ambitions. 


The  City  Art  Museum 


St.  Louis 


About  two  years  ago  Mr.  Alexander  showed  in  Buffalo  a 
collection  of  forty-two  of  his  best  works,  brought  together 
especially  for  the  Albright  Art  Gallery.  His  subjects  vary 
widely  and  demonstrate  the  artist’s  great  versatility.  They 
are  portraits,  genre,  flowers,  marines,  with  smaller  land- 
scapes of  great  charm;  and  no  one  of  us  can  study  these 


JOHN  W.  ALEXANDER 


remarkable  paintings  without  feeling  that  here  is  talent  of 
the  highest  order.  It  is  noticeable  that  Mr.  Alexander, 
whose  art  many  consider  characteristically  French,  never 
studied  in  Paris,  though  he  lived  there  a number  of  years 
as  a practicing  artist;  he  is  essentially  American,  and  we 
take  pride  in  that  relationship. 

1 At  the  Window 


24 


Exhibition  of  the  Societe  des  Peintres  et  des  Sculpteurs 


EDMOND  AMAN-JEAN 

Edmond  Aman-Jean  was  born  at  Chevry-Cossigny,  Seine- 
et-Marne,  in  1860.  He  belongs  to  the  modern  school  of 
French  artists  of  the  period  1885  to  1895  who  joined  the 
secessionists,  led  by  Meissonier  and  Puvis  de  Chavannes. 
His  work  is  introspective,  psychological,  temperamental  in 
character  and  very  decorative.  He  is  the  chief  of  a very 


EDMOND  AMAN-JEAN 


considerable  school,  which  believes  that  poetry  in  modern 
life  still  exists. 

It  is  the  temperament  of  Aman-Jean  which  has  led  him 
to  conceive  and  paint  works  which,  in  almost  every  respect, 
are  in  strong  contrast  of  line  and  precise  features.  Aman- 
Jean  expresses  primarily  color,  harmony  of  tone,  values  in 


The  City  Art  Museum 


St.  Louis 


their  relation  to  each  other.  In  his  pictures  the  light  of  the 
atmosphere  is  filled  with  a thousand  influences.  Others 
excel  in  their  ability  to  seize  contours  alone;  Aman-Jean 
suggests  in  his  forms  the  ability  to  receive  and  radiate 
light.  Around  his  objects  and  figures  there  is,  as  it  were 
a halo,  invisible  though  felt.  This  is  what  painters  call  the 
“envelope.”  Whether  out  of  doors  or  in  a room  with  open 
windows,  air  and  light  tremble  around  each  figure  ana 
object,  encircle,  contain,  and  bathe  them  all  in  diffused 
rays.  In  the  elaboration  of  his  pictures  the  effect  made 
upon  the  eye  plays  the  first  part,  but  hardly  less  felt  is  a 
sentimental  intuition  and  a tenderness  which  is  almost 
melancholy.  His  favorite  subjects  are  women.  His 
methods  are  suggestive  of  the  Japanese. 

Aman-Jean  is  represented  by  mural  decorations  in  many 
of  the  important  public  buildings  in  France,  including  Les 
Arts  Decoratifs.  His  works  are  in  the  Luxembourg,  and 
important  museums  like  those  at  Lyons  and  Dijon  have 
given  his  pictures  especial  prominence.  America  is  proud 
to  acknowledge  that  one  of  the  most  important  works  by 
Aman-Jean  is  owned  by  the  Carnegie  Institute  of  Pitts- 
burgh. He  is  also  represented  in  the  private  collection  of 
Albert  Herter,  Esq.,  Victor  Harris,  Esq.,  Grosvenor  Atter- 
bury,  Esq.,  and  William  Bosworth,  Esq.,  of  New  York. 

He  is  a member  of  many  important  societies,  including 
the  Societe  Nationale  des  Beaux-Arts,  Paris,  and  the 
Societe  Nouvelle. 

2 The  Conversation 

3 The  Gold-Fish  (Decorative  Panel) 

4 The  Kid  (Decorative  Panel) 

5 Lemons  and  Aquarium  (Still  Life) 

6 Portrait  of  Madame  Aman-Jean 

Lent  from  the  Luxembourg  Gallery,  Paris, 
through  the  courtesy  of  Leonce  Benedite, 
Director,  and  the  French  Government 

7 On  the  Balcony 

Lent  by  Victor  Harris,  Esq. 

8 Portrait  of  Mrs.  Albert  Herter 

Lent  by  Ralph  King,  Esq.,  Cleveland 

9 Portrait  of  Mrs.  William  Bosworth 

Lent  by  William  Bosworth,  Esq.,  New  York 

10  Portrait  of  Mrs.  Grosvenor  Atterbury 

Lent  by  Grosvenor  Atterbury,  Esq.,  New  York 

11  Portrait  of  Mrs.  John  W.  Beatty 

Lent  by  John  W.  Beatty,  Esq.,  Pittsburgh 

12  Study-Head  of  a Woman 

Lent  by  W.  H.  Hinkle,  Esq.,  Paris 


26 


Exhibition  of  the  Societe  des  Peintres  et  des  Sculpteurs 


ALBERT  BAERTSOEN 


The  City  Art  Museum 


St.  Louis 


PAUL  ALBERT  BESNARD 


28 


Exhibition  of  the  Societe  des  Peintres  et  des  Sculpteurs 


ALBERT  BAERTSOEN 

Albert  Baertsoen  was  born  at  Ghent,  in  1866.  He  came 
from  a rich  industrial  family,  who  destined  him  for  the 
same  career,  and  it  was  as  an  amateur  that  he  began  to 
paint. 

He  worked  with  such  assiduity,  however,  that  in  1887  he 
exhibited  at  the  Paris  Salon  “Canal,  Matinee  de  Mars”;  and 
the  success  of  this  picture  so  greatly  encouraged  him  that 
from  this  time  he  gave  himself  definitely  to  art. 

He  entered  the  studio  of  Roll  and  worked  there  for  two 
years.  In  1869,  he  again  exhibited,  his  subject  “Le  Dernier 
Rayon.” 

Since  then  his  works  have  been  constantly  shown  at  the 
successive  Salons  of  the  Societe  Nationale. 

We  owe  to  him  “Vieux  Canal  Flammand”  (in  the  Luxem- 
bourg), “Riviere  en  Decembre,”  “Grande  rue  a Nieuport,” 
“Vieux  quai  en  Novembre,”  and  many  others. 

The  Musee  de  Brussels  owns  “Les  Chalands  sous  le  neige” 
(1901),  one  of  his  most  beautiful  canvases;  and  to  the 
Luxembourg  belongs  “Le  Degel,”  which  is,  perhaps,  his 
chef-d’oeuvre. 

13  Street  at  Bruges 


Lent  by  Georges  Petit  Galleries,  Paris 


PAUL-ALBERT  BESNARD 

Paul-Albert  Besnard  was  born  in  Paris,  June  2,  1849.  He 
came  from  a family  of  artists,  his  father  having  been  a 
pupil  of  Ingres  and  his  mother  a miniaturist.  At  an  early 
age  he  entered  the  Ecole  des  Beaux-Arts,  and  while  still  a 
mere  boy  made  his  debut  at  the  Salon  of  1868.  In  1874,  he 
took  the  Prix  de  Rome.  Shortly  afterward  he  married  the 
daughter  of  the  sculptor,  Vital  Dubray,  a sculptor  herself, 
who  has  successfully  led  her  own  career  side  by  side  of 
that  of  her  husband.  For  two  years  they  lived  in  London, 
where  Besnard  came  under  the  sway  of  impressionism  ana 
the  famous  open-air  school.  His  receptive  faculties  enabled 
him  to  acquire  and  assimulate  on  all  sides,  while  at  the 
same  time  losing  nothing  of  his  strength  and  personality. 


29 


The  City  Art  Museum 


St.  Louis 


In  1886  appeared  his  portrait  of  Madame  Roger  Jourdain, 
a young  woman  in  brilliant  evening  dress  advancing  upon 
a terrace;  the  swiftly  vanishing  light  of  day,  and  that 
thrown  on  the  scene  by  the  golden  flow  of  artificial  light, 
depicts  each  warring  with  the  other  for  supremacy.  The 
same  effect  of  conflicting  lights  is  charmingly  exemplified 
in  the  “Femme  qui  se  chauffe,”  now  at  the  Luxembourg. 

This  kind  of  exercise  gave  Besnard  an  incomparable  sup- 
pleness in  depicting  various  aspects  of  forms,  and  most  of 
all  those  in  motion.  But  the  greatest  triumph  of  all  is  in 
decoration;  this  is  the  result  not  only  of  the  taste  and 
method  which,  allied  to  his  rich,  artistic  temperament, 
enables  him  to  cover  huge  walls  as  he  does,  but  also  of  the 
imagination,  which  leads  him  to  conceive  and  execut3 
allegories  under  entirely  new  methods.  All  his  decorations, 
beginning  with  that  of  “Ecole  de  Pharmacie,”  which  won 
for  him  great  fame,  show  with  what  ease  the  artist  moves 
in  the  realms  of  dreams. 

Since  1903,  Paul-Albert  Besnard  has  been  Commander  of 
the  Legion  of  Honor.  He  is  represented  in  all  the  impor- 
tant private  collections  and  museums  of  Europe,  and  his 
mural  decorations  are  found  in  many  of  the  important 
buildings,  especially  in  Paris.  His  famous  portrait  of 
Rejane  is  owned  by  Emile  Sauer,  the  musician,  who  lives  in 
Dresden.  The  beautiful  work  entitled  “Nude  Figure”  by 
Besnard  was  lent  for  a time  to  the  Metropolitan  Museum 
of  Art,  New  York  City.  It  belongs  to  Hamilton  Easter 
Field,  Esq.,  who  has  lent  it  to  the  Albright  Art  Gallery  for 
the  present  exhibition. 

Paul-Albert  Besnard  is  a member  of  the  Societe  Nationals 
des  Beaux-Arts  and  the  Societe  Nouvelle  of  Paris. 

14  The  Smile 

Lent  by  Georges  Petit  Galleries 

15  Flowers  and  Turtle-doves 

Lent  by  Georges  Petit  Galleries 

16  Portrait  of  Ex-Senator  William  A.  Clark 
Lent  by  William  A.  Clark,  Esq.,  New  York 

Nude  Figure 

Lent  by  Hamilton  Field,  Esq.,  Brooklyn,  N.  Y. 


17 


Exhibition  of  the  Societe  des  Peintres  et  des  Sculpteurs 


JACQUES-EMILE  BLANCHE 


The  City  Art  Museum 


St.  Louis 


JACQUES-EMILE  BLANCHE 

Jacques-Emile  Blanche  was  born  at  Paris,  January  30, 
1861.  His  first  works  are  imbued  with  the  gifts  which 
indicate  high  culture,  a just  sentiment  of  the  conditions  of 
his  art,  and  an  innate  distinction  of  taste. 

He  seemed  at  one  time  to  follow  the  impressionistic  lead- 
ing of  Manet;  but  this  was  mitigated  by  the  influence  of 
the  English  artists,  notably  Gainsborough.  This  influence 
is  shown  in  his  “Famille  Thaulow,”  exhibited  at  the  Salon 
of  1896,  and  now  in.  the  Luxembourg. 

Since  this  his  coloring  and  manner  have  grown  warmer 
and  richer;  his  understanding  more  extended;  and  he  has 
executed  in  powerful  harmony  strong  portraits  of  inanimate 
life.  There  is  something  especially  fascinating  in  the 
flexible  art  of  Jacques-Emile  Blanche,  and  wherever  his 
beautiful  appealing  canvases  go  they  carry  with  them  the 
same  sense  of  dextrous  craftsmanship  and  the  same  caress- 
ing charm.  One  and  all  they  reveal  a unity  which  is  rare 
in  the  art  of  their  day.  Every  detail  has  been  properly 
subordinated  to  the  general  effect.  The  flash  of  jewels,  the 
sheen  of  silks,  the  liquid  gleam  of  a mirror,  or  the  mellow 
glow  of  a bowl  of  fruit  on  the  table, . all  is  wooed  into  a 
subtle  harmony  which  seldom  fails  to  captivate  the  most 
exacting  aesthetic  taste.  The  painter’s  success  in  revealing 
the  earnest  countenance  of  the  modern  intellectual,  either 
French  or  English,  is  only  comparable  to  that  delicacy  with 
which  he  enshrines  dawning  womanhood. 

The  Luxembourg  possesses  of  this  period  the  portrait  of 
the  novelist,  Paul  Adam,  executed  in  beautiful  classic 
style. 

Jacques-Emile  Blanche  was  awarded  silver  medal,  Munich, 
1891;  gold  medal,  Exposition  Universelle,  Paris,  1900;  gold 
medal,  Munich,  1901;  Grand  Gold  Medal,  Venice;  Knight 
of  the  Legion  d’Honneur,  France,  1898.  Member  of  the 
Societe  Nationale  des  Beaux-Arts,  Paris;  the  Secession 
Society,  Munich;  the  International  Society  of  Sculptors, 
Painters  and  Gravers,  London;  and  the  Societe  Nouvelle, 
Paris. 

He  is  represented  in  the  Luxembourg,  Paris,  the  Uffizi, 
Florence;  the  museums  in  Brussels,  Frankfort,  Munich, 
Venice,  Budapest,  Dublin,  Lyons,  Rouen,  and  in  many  pri- 
vate collections  both  in  Europe  and  America,  including  that 
of  Mrs.  Dodge  in  Florence. 

18  Salome 

19  Sunflowers  and  Dahlias 

20  Blue  Hydrangeas 

21  Tea  Table  and  Japanese  Lilies 


32 


Exhibition  of  the  Societe  des  Peintres  et  des  Sculpteurs 


22  Portrait  of  Henry  James,  Esq. 

23  Portrait  of  Her  Grace,  the  Duchess  of  Rutland 


24 

Portrait  of  the 

Marquis  of 

Granby 

25 

Fragment  of  a 

Decorative 

Panel  : 

Group  of 

Women 

26 

Fragment  of  a 

Decorative 

Panel: 

Group  of 

Men  (Maurice  Barres,  Henri  de  Regnier,  and 
the  Artist) 

EUGENE  CARRIERS  (1849-1905) 

The  death  of  Eugene  Carriere,  the  painter  of  dreams,  fad- 
ing light  and  veiled  harmony,  has  made  a profound  impres- 
sion which  will  never  be  effaced,  not  only  upon  the  friends 
of  the  man,  but  upon  those  who  admire  and  love  his  art. 
Eugene  Carriere:  the  name  as  well  as  the  portrait  suggest 
something  indefinable,  a signification  mysterious  and  eter- 
nal. With  the  departure  of  the  being  who  was  so  full  of 
force  and  love,  our  life  misses  an  element  which  seemed 
to  us  to  have  been  perfectly  indispensable.  But  this  thought 
we  have,  also,  that  Carriere  is  always  among  us.  I speak 
to  all  who  knew  him  and  understood  him.  Eugene  Carriere 
was  an  interested  member  of  the  Societe  Nouvelle. 

Carriere  was  born  not  far  from  Paris,  in  the  department 
of  Seine-et-Marne  at  the  village  of  Gournay,  January  27, 
1849.  His  real  origin,  however,  was  not  French,  as  his 
father  came  from  French  Flanders  and  his  mother  was 
Alsatian.  He  was  brought  up  at  Strasbourg,  but  it  was 
not  there  that  he  really  received  his  first  inspirations  for 
art  in  spite  of  the  cathedral,  the  churches,  and  the  museum; 
it  was  later  in  Saint-Quentin,  where  he  lived  for  nineteen 
years.  There  he  entered  the  gallery  where  hung  the  pas- 
tels of  La  Tour.  He  looked  at  them  with  longing  eyes  and 
the  great  drawings  of  the  human  figure  inspired  in  him  the 
love  of  construction,  which  afterwards  appeared  in  his  own 
portraits.  Carriere  immediately  began  to  draw  and  paint, 
then  went  to  Paris  to  follow  the  course  of  the  Ecole  des 
Beaux-Arts.  Then  came  the  war,  and  Carriere  was  taken 
as  a captive  to  Dresden  where  he  later  amused  himself  by 
painting  his  comrades  and  in  studying  the  works  of  Rubens. 
Returning  to  Paris,  he  re-entered  the  Ecole  des  Beaux-Arts 
where  he  studied  from  1872  to  1876.  He  then  became  com- 
petitor for  the  Prix  de  Rome,  but  did  not  win  it.  and  it 
was  at  this  time  that  he  turned  his  attention  to  the  prizes 
of  life.  In  the  days  that  followed  he  studied  and  sym- 
pathized with  humanity  and  in  this  way  found  his  sal- 
vation. 

It  was  thus  that  he  became  a painter  of  motherhood  and 
of  childhood.  You  could  search  the  world  over  and  in  the 


The  City  Art  Museum 


St.  Louis 


history  of  art  you  would  never  find  the  sentiment  of  mater- 
nity and  of  infancy  in  Carriere’s  works  expressed  as  won- 
derfully and  beautifully  as  by  him.  The  pictures  of  Mother 
and  Children  of  many  other  painters  seem  arranged,  but 
with  Carriere  the  sentiment  is  new,  and  this  has  created  a 
personal  art.  The  mother  and  children  seem  unconscious 
and  the  poses  are  natural.  His  portraits  of  children,  of 


EUGENE  CARRIERE 
30  Self-Portrait 


young  boys,  young  girls,  and  older  persons  are  studies  of 
the  transformation  of  beings,  and  it  is  this  spirit  of  human- 
ity that  Carriere  wishes  to  write  on  the  history  of  painting. 
He  has  even  painted  the  death  of  Christ  with  a new  note 
of  pathos. 

In  the  Exposition  Universelle,  of  1889,  he  was  decorated 
with  the  Legion  d’Honneur.  In  1890,  he  was  one  of  the 

34 


Exhibition  of  the  Soc!ete  des  Peintres  et  des  Sculpteurs 


first,  with  Puvis  de  Chavannes  and  Rodin,  to  detach  him- 
self from  the  old  group  of  painters,  and  together  they 
founded  the  Societe  Nationale  des  Beaux-Arts;  and  there 
the  same  year  he  exhibited  a canvas  called  “Le  Sommeil,” 
and  the  following  year  the  three  celebrated  portraits  of 
Alphonse  Daudet,  Paul  Verlaine,  and  Gustave  Geffroy.  In 
1892,  the  “Maternite”  was  purchased  by  the  Luxembourg 
Gallery  in  Paris  and  is  now  one  of  its  greatest  treasures. 
The  Luxembourg  also  owns  “La  Famille’’  and  a wonderful 
head  by  Carriere.  In  1893,  the  portraits  of  Gabriel  Seailles, 
Madame  Menard-Dorian,  and  Charles  Morrice  were  exhib- 
ited; in  1895,  a decoration  for  the  Theatre  de  Belleville; 
in  1896,  the  lithograph  portrait  of  Edmund  de  Goncourt, 
and  in  1897,  “Christ  on  the  Cross.”  Twice  Carriere’s  works 
were  assembled  and  exhibited;  the  first  time  in  1891  at 
Valadon,  at  which  time  Geffroy  presented  them  to  the 
public  with  a most  appealing  preface.  The  second  time,  in 
1896,  at  the  new  Salon,  where  he  explained  his  own  work; 
this  address  has  since  become  celebrated. 

In  December,  1904,  a popular  banquet  was  given  to  Car- 
riere in  Paris,  at  which  Rodin  presided.  There  were  six 
hundred  sculptors,  painters,  poets,  and  philosophers,  and 
their  wives.  This  was  a fete  of  love  and  enthusiasm  from 
his  confreres.  Soon  afterward  Carriere  became  ill  and 
after  suffering  for  over  a year,  died  on  the  evening  of 
March  26,  1905. 

Carriere’s  creations  were  his  real  life;  his  tears,  his 
enchantments  were  the  bread  of  his  genius.  Because  he 
had  suffered  he  pitied  men,  he  gave  them  hope  because  he 
had  loved.  His  beautiful  maternities  are  the  symbols  of 
his  life.  I see  in  him  the  supreme  man  to  whom  the  hesita- 
tion of  men  can  demand  the  law  of  the  most  essentia] 
humanity. 


27 

Portrait 

of  Madame  Eugene  Carriere 

28 

The  Kiss 

29 

Materna 

l Caress 

30 

Self-Por 

trait 

31 

Child  w 

ith  Collar 

32 

Child  Si 

V1ILING 

33 

Head  of 

a Little  Girl 

34 

Mao  ny — 

Landscape 

35 

Mag  ny — 

Stormy  Coast 

36 

Head  of 

Madame  Carriere 

37 

Rennes 

Lent  by  Mrs.  Frances  M.  Wolcott 


The  City  Art  Museum 


St.  Louis 


EMILE  CLAUS 

Emile  Claus  was  born  at  Vive-Saint-Eloi,  Belgium,  Sep- 
tember 27,  1849. 

He  was  the  sixteenth  child,  and  his  father,  a modest 
grocer,  was  much  averse  to  the  idea  of  allowing  him  to 
become  an  artist.  However,  by  the  complicity  of  his 
mother  and  of  Peter  Benoit,  whom  chance  had  led  that 
way,  he  was  allowed  to  enter  the  Academie  d’Anvers.  Here 
he  studied  under  Keyser.  From  1874  to  1889  he  painted 
subjects  of  episode  and  sentiment,  such  as  “Richesse  et 
Pauvrete,”  “Le  Chernin  des  ecoliers,”  “Le  Bateau  qui  passe,” 
‘‘La  Veille  de  la  fete,”  and  particularly  a ‘‘Combat  des  Coqs.” 

He  was  awarded  gold  medal,  Exposition  Universelle,  Paris, 
1889;  gold  medal,  Universelle,  Paris,  1900;  Chevalier  de  la 
Legion  d’Honneur;  Officer  of  the  Order  of  St.  Michael  of 
Bavaria,  and  the  Order  of  Leopold;  Knight  of  the  Order 
of  Orange-Nassau.  Member  of  the  Societe  Nationale  des 
Beaux-Arts,  Paris;  the  Secession  Society,  Berlin;  and  the 
Societe  Nouvelle,  Paris.  Represented  in  the  Luxembourg, 
Paris;  and  the  Museums  of  Dresden,  Berlin,  Venice,  Brus- 
sels and  Antwerp. 

Of  a profoundly  observing  and  reasoning  spirit,  he  dis- 
tinguished more  clearly  each  day  the  evolution  going  on 
about  him  and  the  unhappy  route  into  which  his  success 
itself  was  involving  him. 

He  had  the  courage  to  abandon  the  renown  which  he  had 
gained,  and  hesitated  at  no  sacrifice  in  order  the  better  to 
realize  that  which  to  him  was  truth. 

Following  impressionism,  but  with  absolute  freedom,  he 
depicted  the  beautiful  region  of  Lys;  that  flower-covered 
country  with  its  great  trees,  painted  houses,  cows  tethered 
in  groups  in  the  meadows.  From  these  scenes  he  draws  his 
subjects  for  “Quand  fleurissent  les  lychnis”  (1885),  ‘‘La 
Crue  de  la  Lys,  Octobre”  (1888),  ‘‘La  Rentree  des  Vaches” 
(1889),  and  many  others. 

Of  this  artist’s  work  the  Luxembourg  possesses  an  exqui- 
sitely illuminated  canvas  which  well  bears  the  name 
“Rayon  de  Soleil.” 

38  The  Gray  Cow 


36 


EMILE  CLAUS 


The  City  Art  Museum 


St.  Louis 


CHARLES  COTTET 

Charles  Cottet  was  born  at  Puy,  Haute-Loire,  France,  July 
12,  1863.  The  early  part  of  his  life  was  passed  at  Evian- 
les-Bains,  on  the  border  of  Lake  Geneva.  When  at  the  age 
of  seventeen  he  went  to  Paris,  it  was  to  continue  the  studies 
begun  in  Switzerland,  and  from  this  change  of  home  may 
be  dated  the  beginning  of  his  artistic  career. 

His  parents  placed  no  obstacle  in  his  path,  and  he 
entered  the  studio  of  Maillart,  of  whom  he  became  the  most 
attentive  and  scrupulous  pupil.  He  later  left  this  studio 


CHARLES  COTTET 


for  the  Academie  Julian,  where  he  studied  under  the  direc- 
tion of  Boulanger  and  Jules  Lefebvre,  after  which,  enthus- 
iastic over  the  work  of  Puvis  de  Chavannes,  he  received 
from  him  some  instruction,  and  was  proud  to  declare  him- 
self his  pupil.  Cottet  has  generally  worked  alone;  inde- 
fatigable, he  has  depicted  many  scenes  and  types. 

He  was  awarded  gold  medal,  Exposition  Universelle, 
Paris,  1900;  gold  medal,  International  Exposition,  Munich, 
1905.  Represented  in  the  Luxembourg,  Paris,  and  in  the 
Museums  of  Lille,  Venice,  Trieste,  Antwerp,  Karlsruhe, 
Brussels,  Bordeaux,  Helsingfors,  St. -Etienne,  Vienna,  and 
Barcelona,  and  in  the  Cincinnati  Museum  Association, 
America. 


Exhibition  of  the  Societe  des  Peintres  et  des  Sculpteurs 


He  was  created  Chevalier  de  la  Legion  d’Honneur  in 
1900,  and  exhibited  at  all  the  great  international  exposi- 
tions, finding  in  other  lands  the  same  success  as  in  France. 
He  is  a member  of  the  Secessionist  Societies  of  Berlin  and 
Vienna,  and  of  the  International  Society  of  London,  of 
which  Rodin  is  president.  Also  member  of  the  Societe  des 
Peintres  et  Graveurs,  the  Orientalists,  the  Peintres  Litho- 
grapheurs,  and  the  Societe  Nouvelle.  Cottet  belongs  to  the 
group  of  artists  and  men  of  letters  who  have  made  art  the 
law  of  their  lives. 

During  a stay  in  Brittany,  Cottet  so  strongly  felt  the 
charm  of  that  country  that  he  determined  to  linger  there 
for  some  time.  The  violence  of  the  sea,  the  desolation  of 
the  wave-washed  shore,  the  character  of  the  inhabitants 
and  their  picturesque  costumes  as  well,  all  interested  and 
attracted  him,  so  here  he  fixed  his  abode  and  won. 

The  history  of  the  misunderstanding  which  in  1888 
divided  the  Salon  annually  held  in  the  Palais  de  l’lndustrie 
is  well  known;  some  of  the  artists,  faithful  to  the  venerable 
Societe  des  Artistes  Franpais,  stayed  on  the  Champs- 
Elysees;  the  others  who  grouped  themselves  around  the 
ideas  of  the  Societe  Nationale  des  Beaux-Arts  exhibited 
their  works  in  the  Champs-de-Mars.  Meissonier,  who  was 
at  the  head  of  the  malcontents,  gathered  about  him  Puvis 
de  Chavannes,  Cazin,  Besnard,  Rodin,  Roll  and  Carriere. 
Cottet,  who  had  only  once  exhibited  at  the  Artistes  Fran- 
gais,  followed  this  movement,  as  much  to  prove  his  sym- 
pathy with  Puvis  de  Chavannes  and  Roll  as  for  his  own 
personal  satisfaction. 

To  the  first  exposition,  he  sent  his  earliest  study  of  Brit- 
tany, “L’Anse  du  Toulinguet,”  and  at  once  an  interest  in 
this  newcomer  was  shown. 

In  1898  his  triptych  “Le  Repas  des  Adieux”  appeared,  and 
in  this  we  see  the  result  of  his  six  years  of  observation 
spent  in  Brittany;  here  are  expressed  the  whole  scale  of 
sentiments  which  animate  the  life  of  its  people.  The  pic- 
ture was  at  once  accorded  great  admiration  and  the  reputa- 
tion of  Cottet,  clearly  established,  grew  from  this  time. 

In  1899  appeared  “Le  Jour  de  la  Saint-Jean,”  “La  Messe 
Basse  en  Bretagne,”  and  “Les  Feux  de  la  Saint-Jean”  fol- 
lowed. 

During  the  last  few  years  Spain  and  Portugal  have  called 
forth  the  talent  and  observation  of  Charles  Cottet:  Avila, 
the  Cathedra]  of  Salamanca,  Burgos  and  Toledo;  the  Tagus, 
its  colored  waves  charged  with  red  earth  flowing  between 
high  banks,  has  inspired  several  canvases. 

The  nudes  of  Cottet  are  filled  with  realism  and  in  his 
portraits  are  found  all  the  distinguished  qualities  of  the 
artist. 


39 


The  City  Art  Museum 


St.  Louis 


In  his  studio  in  the  Rue  Cassini,  he  works  constantly;  the 
days  of  conflict  are  past;  the  hours  of  work  now  sound, 
and  with  them  ever  more  and  more  success  and  glory. 

39  Lamentation  of  the  Women  of  Camaret  on  the 

BURNING  OF  THEIR  CHURCH 

40  Evening  Service,  Brittany 

41  Pardon  of  St.  Ann  la  Palud,  Brittany 

42  Portrait  of  the  Painter,  Lucien  Simon 

43  Young  Girl  with  Amber  Necklace 

44  Grief 

45  Procession  in  Plougastel  Daoulac 

46  Old  Man  and  Old  Woman  from  l’Ile  de  Sein 

47  Young  Girl  with  Muff 

Purchased  for  permanent  collection  of  Rhode 
Island  School  of  Design,  Providence 

48  Young  Girl  with  Red  Mantle 

49  Young  Girl  at  her  Toilet 

50  Apples  and  Book  (Still  Life) 

51  Woman  at  her  Toilet 

52  Apples  and  Sealing  Wax  (Still  Life) 

53  Stormy  Sea 

54  Venice — Setting  Sun 

55  Original  Study  for  the  Painting  owned  by  the 

Luxembourg;  Triptych — The  Land  of  the  Sea. 
Center  Panel:  Repast  of  Leave  Taking 
Left  Panel:  Those  who  Remain 
Right  Panel:  Those  who  Go 

56  Evening  in  Harbor 

57  Mourning,  Brittany 

Lent  by  Cincinnati  Museum  Association 

ANDRE  DAUCHEZ 

Andre  Dauchez  was  born  in  Paris.  He  has  made  giant 
strides  in  the  last  few  years.  His  draftsmanship  has  taken 
on  a firmness  and  decisiveness  quite  remarkable,  and  no 
one  is  better  qualified  than  he  to  penetrate  into  the  recesses 
of  the  melancholy  soul  of  the  landscape  of  “La  basse 
Bretagne.”  His  decorative  panel  “Prairies  Bordees 
d’Arbres”  was  one  of  the  most  imposing  works  in  this  year’s 
Salon;  and  his  painting  of  a cloudy  sky,  and  meadows  by 
the  banks  of  a river  were  also  considered  masterpieces. 

Member  of  the  Societe  Nationale  des  Beaux-Arts,  Societe 
Nouvelle  de  Peintres  et  Sculpteurs;  Societe  des  Pastellistes 
Franqais,  Societe  des  Peintres-Graveurs,  Paris.  Awarded 


40 


Exhibition  of  the  Societe  des  Peintres  et  des  Sculpteurs 


bronze  medal,  Carnegie  Institute,  1899;  gold  medal,  Car- 
negie Institute,  1900;  silver  medal,  Exposition  Universelle, 
Paris,  1900;  second  gold  medal.  International  Exposition, 
Munich,  1901.  Represented  in  the  Luxembourg,  Paris,  and 
the  Carnegie  Institute,  Pittsburgh. 

58  The  Sea  at  Lesconil 

Lent  by  Georges  Petit  Galleries 

59  Gray  Dune 

Lent  by  Georges  Petit  Galleries 

60  The  Point  of  Lahuron 

Lent  by  Georges  Petit  Galleries 

61  The  Bay  of  Combrit 


ANDRE  DAUCHEZ 


41 


The  City  Art  Museum 


St.  Louis 


LOUIS  DEJEAN  (Sculptor) 

Louis  Dejean  was  born  in  Paris,  in  1872.  After  having 
studied  for  a short  time  under  Charles  Gautier  and  later  at 
the  Ecole  des  Arts-Decoratifs,  he  branched  out  for  himself 
and  has  confined  himself  almost  entirely  to  the  genre  of 
the  small,  delicately-traced  figure.  He  has  been  a medallist 
since  his  second  exhibition,  in  1900.  Almost  entirely,  his 
models  have  been  Parisian  types — the  boulevardier,  the 
street  gamin,  the  professional  model,  the  actress  of  the 
cafe-chantant;  and  the  key-note  of  Dejean’s  art  is  its  subtle 
tracery  which  endows  with  flesh  and  blood  the  coquetry,  the 
languor,  the  lurking  charm  of  the  twentieth-century  woman. 
Typical  figures  in  the  Dejean  exhibitions  have  been  his 
woman’s  torso  of  an  outline  delicate  and  robust  at  once,  a 
statuette  of  a nude  young  boy  on  which  the  light  plays 
caressingly,  and  many  other  of  the  exquisite  little  figures 
which  have  begun  to  build  up  the  reputation  of  this  remark- 
able artist  ceaselessly  preoccupied  with  enlarging  his  scope 
and  attaining  his  style  without  sacrificing  his  quickness 
of  impression. 

62  April  (Bronze) 

63  The  Woman  and  the  Source  (Wax) 

CHARLES-ALBERT  DESPIAU  (Sculptor) 

Charles-Albert  Despiau  is  a sculptor  who  has  exhibited 
at  the  Salons  of  1904  and  1906,  and  is  a man  of  great  ability; 
his  works  are  fast  becoming  known  all  over  the  world. 

64  Torso  of  a Bacchante  (Bronze) 

HENRI  DUHEM 

Henri  Duhem  was  a noted  lawyer  in  the  south  of  France, 
and  wrote  a comprehensive  book  on  French  art.  He  was 
born  at  Douai,  in  1860,  and  lived  there  for  many  years. 
Duhem  is  a painter  of  marvelous  landscape  effects  with  dim 
skies  and  pale  chalky  shores,  large  moonlight  scenes  and 
an  original  and  intense  series  of  provincial  towns,  market 
places,  and  scenes.  He  renders  the  dream  of  peacefulness, 
the  restfulness  of  grey  skies. 

Henri  Duhem  has  figured  in  all  the  great  national  exhibi- 
tions, both  French  and  foreign,  for  twenty-seven  years. 

He  was  awarded  a medal.  Exposition  Universelle,  Paris, 
1900.  Membre-Societaire  de  la  Societe  Nationale  des  Beaux- 
Arts,  Paris;  the  Societe  Nouvelle,  Paris;  Chevalier  de  la 


42 


Exhibition  of  the  Societe  des  Peintres  et  des  Sculpteurs 


Legion  d’Honneur,  Paris.  Represented  in  the  Luxembourg, 
Paris,  and  the  Petit  Palais,  Paris,  and  in  the  Museums  of 
Buenos  Ayres,  Argentina;  Arras,  Lille,  Lyons,  Douai,  etc. 

65  The  Flock  passing  the  Road,  at  the  rise  of  the 

Red  Moon 

66  The  Locks  in  Sunset 


HENRI  DUHEM 


43 


The  City  Art  Museum 


St.  Louis 


WALTER  GAY 

Walter  Gay,  one  of  the  American  members  of  the  Societe 
Nouvelle,  was  born  in  Hingham,  Mass.,  in  1856.  He  studied 
in  Paris  under  Bonnat.  Awarded  gold  medals:  Paris, 

1888;  Vienna,  1893;  Antwerp,  1894;  Munich,  1894;  Berlin, 


WALTER  GAY 


1895;  Budapest,  1895.  Officer  of  the  Legion  d’Honneur. 
Represented  in  the  Pinaceothek,  Munich;  Luxembourg, 
Paris;  Museum  of  Fine  Arts,  Brussels;  Museum  at  Amiens: 
Metropolitan  Museum  of  Art,  New  York;  Museum  of  Fine 
Arts,  Boston;  Pennsylvania  Academy  of  the  Fine  Arts, 
Philadelphia;  and  Carnegie  Institute,  Pittsburgh.  He  is  a 
member  of  the  Societe  Nationale  des  Beaux- Arts;  Royal 
Society  of  Water  Colors,  Brussels;  Societe  Nouvelle,  Paris; 


44 


Exhibition  of  the  Societe  des  Peintres  et  des  Sculpteurs 


American  Institute  of  Arts  and  Letters;  Member  of  Com- 
mittee of  Purchases,  Administration  Society  des  Amis  du 
Louvre,  Paris. 

With  the  charm  of  mastership  and  a lucidity  which  all 
admire,  Walter  Gay  paints  his  interiors;  these  are  almost 
always  of  the  eighteenth  century:  sumptuous  salons  and 
agreeable  apartments. 

He  makes  “portraits  of  rooms”;  studies  the  physiognomy 
of  the  marble-paved  vestibule,  representing  in  detail  as  well 
as  taken  as  a whole  the  character  of  a boudoir;  wresting 
from  the  faded  silk  of  a sofa  gallant  avowals,  and  from  the 
“tabouret”  its  confidence.  For  grasping  the  expression  of  a 
screen  he  has  no  equal,  and  even  from  a cracked  flagstone 
pavement  he  draws  what  is  almost  a thought. 

He  has  understood  that  inanimate  objects,  and  above  all 
those  which  having  lived  much  have  retained  that  life,  are 
endowed  with  a little  individual  soul  of  which  he  tries  to 
show  the  hidden  power.  He  has  felt  that  a cracked  wall 
of  the  past,  a table  of  a certain  epoch,  a footstool  wearied 
by  the  fatigue  of  those  long  since  gone,  those  who  com- 
plained of  not  having  reposed  enough,  had  features  like 
those  of  a face;  an  expression  which  changed  according  to 
the  hour  and  the  time,  and  alas,  without  reason,  for  nothing. 
And  with  a grace,  patient  as  quick,  he  has  noted  in  them 
all  the  shades  of  solitude. 

The  interiors  of  Walter  Gay,  though  so  filled  with  the  life 
of  those  who  have  tenanted  them,  are  always  empty,  and 
marvelous  is  the  tact  by  which  are  indicated  the  class  and 
description  of  the  actors  who  lived  in  the  midst  of  the 
noble  decorations  from  which  it  is  a pity  they  are  now 
absent. 

These  deserted  rooms  do  not  give  the  least  impression  of 
abandonment;  people  are  near,  they  come  and  go.  The 
dying  cinders  on  the  hearth  illumine  the  royal  fleur-de-lis 
painted  on  the  ceiling;  a window  is  open,  a curtain  sways 
in  the  breeze;  a shutter  bars  out  the  warmth  of  sunshine. 
Here  is  a breakfast  table  on  which  the  cloth  still  rests,  and 
the  creased  napkins  bear  marks  of  the  fingers  that  have 
recently  crumpled  them. 

In  treating  these  details,  the  artist  depicts  nothing  sad 
or  morose;  he  stops  on  the  threshold  of  melancholy — 
dreamer  that  he  is — attentive  and  tender.  By  the  strength 
of  his  desire  and  power  of  expression  he  tries  to  make  us 
feel  the  light  in  these  beautiful  dwellings.  The  light  is  in 
love  with  ancient  things  and  while  giving  to  them  they 
repay  the  gift  a thousand  fold.  It  knows  that  these  vener- 
able objects,  filled  as  they  are  with  a life  that  has  fled,  are 
of  greatest  value  while  they  now  claim  only  a passing 
gayety. 


The  City  Art  Museum 


St.  Louis 


Through  the  deep  windows  of  an  old  chateau  of  France 
pours  the  light,  curious,  touching  everything.  It  glances  at 
the  candelabra,  greets  with  a kiss  the  clock,  aims  a sword 
thrust  at  the  glass  of  water,  leaps  to  the  floor,  climbs  the 
picture-covered  wall,  but  never  does  it  overstep  its  bounds, 
for  Walter  Gay  keeps  careful  guard.  You  leave  the  can- 
vases of  this  sympathetic  master  with  regret,  feeling  the 
charm  which  he  brings  out  in  everything  he  touches.  Mr. 
Gay  is  represented  in  many  museums  and  notable  collec- 
tions. The  Luxembourg  is  fortunate  enough  to  have  won 
one  of  his  best  works  and  the  Boston  Museum  has  just 
acquired  an  important  example.  Both  are  included  in  the 
present  exhibition. 

67  Large  Interior 

68  Venetian  Interior 

69  Interior  of  Chateau  of  Petit  Trianon,  Ver- 

sailles 

70  Chateau  de  Breau 

71  Small  Inter  for:  The  Green  Bed 

72  Interior 

Lent  from  the  Luxembourg  Gallery,  Paris, 
through  the  courtesy  of  Leonce  Benedite, 
Director,  and  the  French  Government 

73  Palazzo  Barbaro,  Venice 

Lent  by  the  Museum  of  Fine  Arts,  Boston 

ANTONIO  DE  LA  GANDARA 

Antonio  de  La  Gandara  is  a portrait  painter  who  has 
achieved  great  popularity,  and  who  is  one  of  the  most 
sought  after  and  the  most  remarkable  among  painters  of 
contemporary  womanhood.  He  executes  a portrait  with 
the  subtleness  and  penetration  which  is  characteristic  of 
his  work.  Besides  portraits,  the  artist  produces  some 
charming  drawings.  Previously  he  has  done  some  little  pic- 
tures of  the  Luxembourg  gardens  and  the  Parc  de  Saint- 
Cloud. 

Antonio  de  La  Gandara  exhibits  a characteristic  portrait 
of  a woman  of  highly-strung  and  nervous  elements,  and  two 
of  his  best  productions  in  the  art  of  landscape  painting. 

To  his  Spanish  heredity  La  Gandara  owes  his  skill  in 
executing  the  luxurious  yet  sombre  effect  of  cloths  and 
drapery — that  mastery  most  strongly  exemplified  by 
Valasquez. 

74  Portrait  of  Miss  D 

75  The  Palace  of  Justice 

76  View  from  the  Luxembourg 


46 


Exhibition  of  the  Societe  des  Peintres  et  des  Sculpteurs 


EUGENE  LAGARE  (Sculptor) 

Eugene  Lagare,  born  in  1870,  is  a sculptor  who  has 
exhibited  some  notable  works  in  bronze  and  plaster,  espe- 
cially at  the  Salon  of  1906.  He  is  today  considered  by 
Rodin  one  of  his  most  promising  pupils. 

77  Biblis 

Lent  by  Professor  Rene  Cheruy,  Hartford,  Conn. 

78  Bust  of  Walter  I.  Schulz  (Bronze) 

Lent  by  Walter  I.  Schulz,  Esq.,  Hartford,  Conn. 

79  Sphinx  giving  way  to  the  Genius  of  Man 

80  Head  of  a Young  Girl 

GASTON  LA  TOUCHE 

Gaston  La  Touche  was  born  at  Saint-Cloud  in  1854.  He 
is  self-taught.  Awarded  medals:  Salon  Hors  Concouis; 

Exposition  Universelle,  1900;  Grand-Prix,  Venice;  Barce- 
lona; Munich;  and  the  Carnegie  Institute,  Pittsburgh. 
Officer  of  the  Legion  d’Honneur.  Represented  in  the  col- 
lections of  the  Luxembourg,  Brighton,  Venice,  Rouen,  Brus- 
sels, Vienna,  and  his  works  are  owned  in  numerous  private 
collections  abroad  and  some  in  America.  Hugo  Reisinger, 
Esq.,  owns  some  of  the  best  examples  of  La  Touche's  work, 
also  Victor  Harris,  Esq.,  both  of  New  York. 

Two  important  examples  are  owned  in  Buffalo;  one  by 
Mrs.  Porter  Norton  and  the  other  by  Mrs.  Spencer  Kellogg. 
Both  are  here  exhibited.  La  Touche  is  President  of  the 
Societe  Internationale  des  Peintres  a l’eau;  member  of  the 
Franco-American  Institute;  member  of  the  Delegation  of 
the  Societe  Nationale  des  Beaux-Arts;  and  a member  of  the 
Imperial  Consul  des  Beaux-Arts;  Societe  des  Aquarellistes 
Hollandais;  Societe  Royale  des  Artistes  Beiges,  and  the 
Societe  Nouvelle  of  Paris. 

Gaston  La  Touche’s  ancestors  came  from  Normandy. 
Here  above  all  other  places  still  lingers  the  influence  which 
Marie  Antoinette  had  exerted  during  her  lifetime — the  love 
of  sylvan  scenes,  fetes  on  velvety  lawns  shaded  by  graceful 
trees,  dances  in  the  open  air.  suppers,  fountains,  tiny  lakes 
and  streams  in  which  are  mirrored  swans  or  on  which  floats 
a lazy  boat. 

Thus  the  boy  grew  up  surrounded  by  a mental  as  well  as 
a visual  eighteenth  century  atmosphere.  The  books  in 
which  he  delighted  were  those  of  that  period,  and  when  at 
the  early  age  of  ten  he  began  to  paint,  his  pictures  naturally 
embodied  the  spirit  of  his  musing.  This  influence,  so  early 
felt,  has  colored  all  of  his  later  works,  the  grace,  elegance, 
and  daintiness  of  the  court  of  Louis  XVI  constantly  speak- 
ing to  us  from  his  canvases. 


47 


The  City  Art  Museum 


St.  Louis 


In  spite  of  La  Touche’s  talent  and  love  for  painting  his 
parents  were  opposed  to  his  becoming  an  artist  and  endeav- 
ored first  to  make  a student  of  him,  failing  in  which  they 
plunged  him  into  a life  of  commerce;  then  the  lad  rebelled 
and  insisted  upon  following  his  chosen  profession.  Self- 
taught  at  first,  he  worked  frantically  and  in  1875  made  his 
debut  at  the  Salon  as  a sculptor,  exhibiting  a medallion. 


GASTON  LA  TOUCHE 


Then,  through  his  friendship  with  Nanot,  Degas,  and  Zola, 
he  became  a member  of  the  naturalist  school  and  later  an 
idealist.  Today  he  is  considered  one  of  the  finest  of  the 
true  colorists.  In  the  year  1890  he  joined  the  Secessionists, 
led  by  Meissonier  and  Puvis  de  Chavannes,  and  exhibited 
at  the  new  Salon  of  the  Societe  Nationale  des  Beaux-Arts. 

In  our  admiration  of  his  work  we  do  not  separate  his 
decorative  panels  from  his  paintings,  of  which  a list  would 


48 


Exhibition  of  the  Societe  des  Peinters  et  des  Sculpteurs 


be  too  long  for  this  sketch.  In  his  studio  at  Saint-Cloud, 
the  artist  labors  incessantly,  even  during  his  walks,  and 
while  traveling  he  makes  little  sketches  which  furnish  him 
valuable  material;  in  these  he  is  as  much  poet  as  painter. 


81 

82 


83 

84 

85 

86 

87 

88 


Landscape — River  Bank 

Vision  Antique  (Exhibited  in  Salon,  1911,  under 
title  of  "Innocence”) 

The  Betrothed 

The  Visit  of  the  Princess  Roy  ale 
Landscape 

Lent  by  Victor  Harris,  Esq.,  New  York 
A Pardon  in  Brittany 
Lent  by  Victor  Harris,  Esq.,  New  York 
Mischief 

Lent  by  Mrs.  Spencer  Kellogg,  Buffalo 
Saint  Marks,  Venice 

Lent  by  Mrs.  Porter  Norton,  Buffalo 


HENRI-EUGENE  LE  SIDANER 

Henri-Eugene  Le  Sidaner  was  born  at  Port  Louis, 
Mauritius,  in  1862.  He  comes  from  a Breton  family. 

Member  of  the  Societe  Nationale  des  Beaux-Arts,  Paris; 
the  International  Society  of  Sculptors,  Painters,  and 
Gravers,  London;  and  of  the  Societe  Nouvelle,  Paris. 
Represented  in  the  Luxembourg,  the  Petit  Palais  des  Beaux- 
Arts,  Paris;  and  in  the  private  collections  of  John  W. 
Beatty,  Esq.,  Pittsburgh;  Edward  Drummond  Libbey,  Esq., 
Toledo,  and  Mrs.  W.  R.  Taylor,  Rochester,  N.  Y.  Awarded 
medal  of  the  third  class,  Paris.  1891;  bronze  medal.  Exposi- 
tion Universelle,  Paris,  1900;  honorable  mention,  Carnegie 
Institute,  1901,  medal  of  the  second  class,  Carnegie  Institute, 
Pittsburgh,  1906. 

89  Bee-hives 

Lent  by  Georges  Petit  Galleries 

90  Sunlight  on  a Red  Temple 

Lent  by  Georges  Petit  Galleries 

91  The  Faubourg 

Lent  by  Georges  Petit  Galleries 

92  Evening  in  the  Village 

Lent  by  Mrs.  Spencer  Kellogg,  Buffalo 

93  Morning 

Lent  by  Mrs.  E.  D.  Libbey.  Toledo 

94  Little  Twilight 

Lent  by  Professor  James  Mavor,  Toronto 


49 


HENRI  EUGENE  LE  SIDANER 


50 


Exhibition  of  the  Societe  des  Peinters  et  des  Sculpteurs 


HENRI  MARTIN 

At  the  opening  of  the  Salon  of  1883,  three  pictures 
attracted  much  attention,  “Andromaque,”  by  Georges  Roche- 
gresse;  “Saint  Julien  l’Hospitalier,”  by  Aman-Jean;  and 
“Francesca  da  Rimini,"  by  Henri  Martin,  a young  artist, 
until  this  time  practically  unknown.  He  was  born  at 
Toulouse,  France,  August  5,  1860,  and  studied  under  Jean- 
Paul  Laurens;  this  much  only  was  known  of  him.  How 
suddenly  he  made  the  place  for  himself  which  he  has  since 
filled  with  such  distinction!  When  quite  young  he  showed 
rare  artistic  gifts,  but  as  his  family  desired  him  to  become 
a merchant,  he  devoted  himself  for  six  months  to  commerce. 
At  the  end  of  that  time,  however,  his  family,  understanding 
that  his  vocation  was  irresistible,  decided  to  consent  to  his 
wishes.  He  then  entered  the  Ecole  des  Beaux-Arts  at 
Toulouse;  at  the  age  of  nineteen  he  obtained  the  Grand- 
Prix  and  with  the  income  which  this  brought  him,  went  to 
Paris  and  entered  the  studio  of  Jean-Paul  Laurens.  In  1880, 
he  exhibited  at  the  Salon  des  Artistes  Franqais  a picture 
called  “Le  Desespoire,”  and  in  1883  his  “Francis  a da 
Rimini’’  followed.  This  was  received  with  acclamation 
from  the  artists,  given  first  class,  and  was  bought  by  the 
State.  At  this  time,  he  had  now  shown  the  vigorous 
originality  with  which  his  later  work  made  us  familiar.  In 
1864,  however,  with  his  “Cain,”  he  gave  voice  to  the  spirit 
of  seer  and  poet.  He  went  to  Italy,  visited  with  enthusiasm 
her  churches  and  museums,  revelled  in  her  wealth  of  color. 
He  centered  his  admiration  cn  the  works  of  Giotto.  The 
poetry  of  these  frescoes,  the  life  which  animates  them, 
troubled  profoundly  the  soul  of  the  young  painter  of  twenty- 
five,  who  had  thus  new  horizons  opened  to  him.  From  this 
time  Henri  Martin  shows  in  his  works  more  of  contempla- 
tion than  observation  and  he  began  following  his  desire  to 
interpret  the  poets.  Dante  inspired  him  with  the  subject 
“Chant  XXXIII  de  l’Enfer.” 

From  this  time  he  had  but  to  follow  the  route  which  he 
had  traced  for  himself,  and  which  was  opened  before  him, 
filled  with  sunshine  and  security.  At  the  age  of  twenty- 
eight  he  had  won  a success  which  his  elders  might  well 
have  envied.  In  1889  he  exhibited  “La  Fete  de  la  Federa- 
tion,” a large  canvas  which  excited  much  discussion,  upset- 
ting, as  it  did,  the  long-established  rules  of  generations  of 
artists.  The  same  year  he  won  the  medal  for  his  great 
picture  of  “Paolo  et  Francesca,”  now  hung  in  the  Musee  de 
Carcassonne.  He  is  noted  for  his  “L’lnspiration”  in  the 
Luxembourg.  He  is  a symbolist. 

During  1896,  an  exhibition  of  his  works  shown  at  the 
Galerie  Mancini  won  for  him  the  esteem  of  the  public  at 
large,  and  in  the  following  year  many  other  important 
works  appeared.  In  1899,  his  “Serenite”  drew  from  Puvis 


51 


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St.  Louis 


HENRI  MARTIN 

de  Chavannes  a cry  of  delight.  “Here  is  one,”  he  exclaimed, 
“who  will  continue  my  work!” 

His  works  are  those  of  which  one  often  thinks:  har- 
monious and  luminous  landmarks  on  the  route  of  art. 

He  is  a member  of  the  Societe  des  Artistes  Frangais;  of 
the  Societe  Nationale  des  Beaux-Arts;  and  of  the  great 
Societe  Nouvelle,  Paris.  Represented  in  the  Luxembourg, 
Paris;  Museum  of  Painting  and  Sculpture,  Bordeaux; 
Museum  of  Amiens;  Lyons;  Museum  of  Fine  Arts,  Toulouse, 
Marseilles,  Carcassonne,  Ghent,  Nantes,  and  Buenos  Ayres. 
Awarded  medal  of  the  first  class.  Salon,  Paris,  1883;  gold 
medal.  Exposition  Universelle,  Paris,  1889;  Grand  Prize, 
Exposition  Universelle,  Paris,  1900;  Officer  of  the  Legion 
d’Honneur,  France,  1893;  Hors  Concours,  Societe  des 
Artistes  Frangais. 

95  Village  in  Spring 

96  The  Pergola 

97  An  Old  House 

98  Under  the  Trees 


52 


Exhibition  of  the  Societe  des  Peintres  et  des  Sculpteurs 


EMILE-RENE  MENARD 

Emile-Rene  Menard  was  born  in  Paris  in  1862,  in  a cul- 
tivated and  literary  circle.  He  is  himself  a spirit  of  great 
culture. 

Under  the  influence  of  his  father  and  his  uncle,  the 
philosopher,  Louis  Menard,  his  intelligence  could  not  fail 
to  open  itself  to  all  forms  of  beauty,  whether  of  reality  or 
dream. 

He  studied  both  at  the  Ecole  des  Beaux-Arts  and 
Academie  Julian.  His  first  Salon  date  is  1883;  he  hesitated 
some  time  in  his  choice  of  modern  or  antique  subjects, 
visibly  influenced,  like  all  his  comrades,  by  the  naturalistic 
movement  of  the  time. 

Toward  1890,  he  found  the  path  in  which  he  now  each 
clay  walks  with  more  assured  step,  that  of  portraiture  and 


The  City  Art  Museum 


St.  Louis 


of  synthetic  visions  of  landscape  peopled  with  epic  groups 
of  beautiful  nude  women  bathing  in  quiet  waters.  He  says, 
“It  was  in  Barbizon  and  Normandy  that  I began  to  paint 
landscapes,  later,  I was  in  Brittany,  worked  in  France,  in 
Corsica  and  in  Greece,  and  I have  also  traveled  in  Algeria 
and  in  Syria." 

A journey  in  Sicily  accentuated  his  first  connection  with 
antiquity  and  furnished  him  with  the  subjects  of  his  beauti- 
ful pictures,  “Historiques  d’Agrigentz"  (1890)  and  “Terre 
Antique"  (1901). 

Since  1900,  Rene  Menard  has  been  Chevalier  de  la  Legion 
d’Honneur,  Officer  of  the  Legion  d’Honneur,  1910. 

He  was  awarded  medal  of  the  third  class,  Salon,  Paris, 
1898;  gold  medal,  Exposition  Universelle,  Paris,  1900.  Mem- 
ber of  the  Societe  Nationale  des  Beaux-Arts,  Paris;  the 
Societe  Nouvelle,  Paris;  and  the  Societe  des  Pastellistes 
Francais.  Represented  in  the  Luxembourg,  and  in  the 
Musee  de  la  Ville,  Paris,  Museum  of  Fine  Arts,  Toulouse, 
France;  Museum  of  Stockholm;  Carnegie  Institute,  Pitts- 
burgh, and  in  Munich,  Brussels,  Budapest,  Venice,  Rome, 
Buenos  Ayres,  Ghent,  Algeria,  Lyons,  Nantes,  and  in  many 
private  collections  all  over  the  world. 

The  pictures  of  Emile  Rene  Menard  are  always  a source 
of  pure  joy  for  the  spectator;  the  least  of  his  paintings 
impels  our  admiration  by  the  beauty  of  its  conception,  the 
nobility  of  its  sentiment,  and  the  great  charm  of  its  color. 
His  pictures  must  be  accounted  veritable  masterpieces. 


99 

Hylas 

100 

Bucolique 

101 

Sunset  on  the  Corsican  Coast 

102 

Setting  Sun 

Lent  by  Georges  Petit  Galleries 

103 

The  Coast  of  Normandy 

Lent  by  Georges  Petit  Galleries 

104 

Twilight 

Lent  by  Victor  Harris,  Esq.,  New 

York 

105 

The  Rainbow 

Lent  by  Victor  Harris,  Esq.,  New 

York 

106 

Sea  and  Cloud 

Lent  by  Victor  Harris,  Esq.,  New 

York 

107 

The  Swamp 

Lent  by  William  H.  Sage,  Esq.,  Albany 


The  Judgment  of  Parts 

Lent  by  Carnegie  Institute,  Pittsburgh 


108 


Exhibition  of  the  Societe  des  Peinters  et  des  Sculpteurs 


JAMES  WILSON  MORRICE 

James  Wilson  Morrice  was  born  at  Montreal,  Canada.  He 
is  a Canadian  artist  who  went  not  long  ago  to  settle  in 
Paris.  He  is  not  an  original  member  of  the  Societe 
Nouvelle,  but  this  new  recruit  is  one  of  the  most  interesting 
and  characteristic  painters  of  the  group,  and  bis  works 


JAMES  WILSON  MORRICE 


immediately  attract  attention  by  reason  of  their  striking 
coloring  and  beauty  of  technique. 

He  is  represented  in  the  Luxembourg,  Paris;  Pennsyl- 
vania Academy  of  the  Fine  Arts,  Philadelphia;  Palace  of 
Arts,  Lyons,  France;  and  in  the  private  collection  of  D.  R. 
Wilkie,  Esq.,  Toronto,  and  many  private  collections  in 


The  City  Art  Museum 


St.  Louis 


Montreal.  Member  of  the  Societe  Nationale  des  Beaux-Arts, 
and  of  Salon  d’Automne,  Paris;  International  Society  of 
Sculptors,  Painters,  and  Gravers,  London;  and  the  Societe 
Nouvelle,  Paris. 

James  Wilson  Morrice  is  unquestionably  the  Canadian 
painter  who  has  achieved  in  France  and  at  Paris  (where 
he  participates  regularly  in  all  the  important  exhibitions) 
a most  notable  and  well-merited  place  in  the  world  of  art. 
If  he  has  arrived  at  this  high  position,  it  is  certainly  not 
because  of  any  means  outside  of  his  art — severe,  charming, 
and  truthful.  Mr.  Morrice  has  never  concerned  himself 
with  flattering  the  tastes  of  the  public,  the  fashion  of  the 
hour,  or  bourgeois  prejudice.  From  him  we  have  never 
seen  those  sensational  effigies,  brilliant  and  hollow,  of  which 
in  Paris,  as  in  all  other  places,  ephemeral  reputations  are 
made;  nor  has  he  thrust  himself  into  view  with  immense 
anecdotal  compositions,  before  which  assemble  the  mob, 
more  sensitive  to  the  pathetic  or  picturesque  subject  than 
to  the  veritable  language  of  painting  as  expressed  in  form, 
color,  light,  and  value.  What  above  all  else  characterizes 
the  work  of  Mr.  Morrice  is  his  freedom.  Like  the  true  mas- 
ters, he  began  twenty  years  ago  with  pictures  that  were 
somewhat  tight  in  manner,  rather  stiffly  drawn,  almost 
minute,  producing  the  object  copied  with  respectful  and 
timid  fidelity.  Then,  as  he  became  conscious  of  his  powers, 
he  eliminated  the  useless  to  express  only  the  essential.  The 
carefully  realistic  analysis  of  his  first  works  gave  place  to 
a synthesis,  broad,  rhythmic,  and  always  well  considered, 
which  of  late  years  is  the  only  sense  of  beauty  which  has 
guided  him. 

109  The  Place  Chateau  Brigand,  St.  Malo 

Lent  by  the  Mount  Royal  Club,  Montreal 

110  St.  Georgio,  Venice 

Lent  by  James  Reid  Wilson,  Esq.,  Montreal 

111  Clarenton 

Lent  by  Arthur  Morrice,  Esq.,  Montreal 

112  The  Ramparts.  St.  Malo 

Lent  by  David  Morrice,  Esq.,  Montreal 

113  On  the  Grand  Canal,  Venice 

Lent  by  Mrs.  Newton  MacTavish,  Toronto 

114  On  the  Beach 
Lent  by  Daniel  R.  Wilkie,  Esq.,  Toronto 

The  Circus 
Snow  Scene,  Canada 
Canadian  Village 


115 

116 
117 


56 


Exhibition  of  the  Societe  des  Peintres  et  des  Sculpteurs 


JEANNE  POUPELET 


MADEMOISELLE  JEANNE  POUPELET  (Sculptor) 

Mademoiselle  Jeanne  Poupelet  was  born  at  Bordeaux, 
France.  She  was  awarded  bronze  medal,  Exposition  Univer- 
selle,  Paris,  1900;  Bourse  de  Voyage  from  the  Government 
in  1904;  Secretary  of  the  Societe  Nationale  des  Beaux-Arts, 
Secretary  of  the  Salon  d'Automne,  and  member  of  the 
Societe  Nouvelle,  Paris. 

118  Duck 

119  Rabbit 

RENE-XAVIER  PRINET 

Rene-Xavier  Prinet  paints  with  sentiment  and  also  proves 
that  he  can  be  at  times  an  excellent  plein-air  artist.  He  is 
one  of  the  very  important  members  of  this  group. 

A faint,  vague  perfume  of  the  past  pervades  the  work  of 
this  clever  painter  of  incident  who  infuses  into  his  realism 
a certain  tender  grace  reminiscent  of  poetry  and  romance. 

He  was  awarded  honorable  mention,  Societe  des  Artistes 
Frangais,  1888;  gold  medal,  Exposition  Universelle,  Paris, 
1900;  Knight  of  the  Legion  d’Honneur,  France,  1900;  Asso- 
ciate Member  of  the  Societe  Nationale  des  Beaux-Arts,  and 


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St.  Louis 


of  the  Society  of  Painters  and  Sculptors,  Paris.  Repre- 
sented in  the  Luxembourg,  Paris;  Museum  of  Gothenburg; 
Museum  of  Nancy;  Museum  of  Bordeaux;  Museum  of  Hel- 
singfors; Museum  of  Vesoul;  Museum  of  Gray;  Museum  of 
Brussels;  collection  of  Prince  Leopold  of  Bavaria. 

120  The  Amazons 

121  The  Ferryman 

122  Woman  in  Brown 

JEAN-FRANCOIS  RAFFAELLI 

Jean-Francois  Raffaelli  was  born  in  Paris,  April  20,  1850. 
While  still  young  his  father  lost  his  fortune  and  the  lad  was 
obliged  to  choose  a means  of  earning  a livelihood  which 
would  at  the  same  time  yield  him  sufficient  leisure  in  which 
to  follow  his  chosen  career,  that  of  painting. 

For  this  he  felt  that  he  had  an  irresistible  vocation. 

Beginning  at  the  age  of  fourteen  he  tried  various  occupa- 
tions, sang  in  churches  or  at  the  theater;  gave  lessons  while 
all  the  time  gaining  for  himself  a general  education  and 
devoting  every  spare  moment  to  painting. 

He  studied  for  a time  in  the  atelier  of  Gerome,  but  his 
natural  independence  rebelled  at  the  restrictions  here 
imposed. 

Married  while  still  young,  he  traveled  with  his  wife  in 
Italy,  Spain  and  Algeria.  Upon  their  return  they  settled  in 
the  suburbs  of  Paris,  and  here  his  penetrating  vision  dis- 
covered a world  new  to  art. 

At  this  time  affiliated  with  the  impressionists,  he  partici- 
pated in  some  of  their  earliest  expositions.  But  soon  he 
separated  from  them,  the  better  to  follow  out  the  path  which 
he  has  since  fashioned  for  himself. 

In  1884,  he  organized  an  exhibition  of  his  works;  in  the 
preface  of  the  catalogue  prepared  for  this  he  wrote:  “The 
art  of  the  past  has  said  all  that  there  is  to  say  of  purely 
plastic  beauty;  the  duty  of  the  modern  painter  is  to  search 
for  characteristics,  that  is  to  say,  character.” 

The  catalogue  divided  its  subjects  into  groups,  portraits 
of  various  types  of  the  lower  classes,  ragmen,  drinkers  of 
absinthe,  robbers,  etc. 

“Les  Forgerons  Buvant,”  exhibited  at  the  Exposition  Con- 
tennal  de  l’Art  Frangais  in  1890,  is  a picture  of  this  class. 

But  while  feeling  intensely  and  depicting  what  is  to  him 
the  poetry  of  the  humble  and  miserable,  he  has  in  so  doing 
in  no  way  lost  his  sense  of  beauty  and  of  the'  most  delicate 
harmonies. 


JEAN-FRANCOIS  RAFFAELLI 


59 


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St.  Louis 


In  1900  he  was  made  Officer  de  la  Legion  d’Honneur. 

He  was  awarded  honorable  mention.  Salon,  Paris,  1885; 
gold  medal.  Exposition  Universelle,  Paris,  1889;  medal  of 
the  second  class,  Carnegie  Institute,  1896;  gold  medal,  Expo- 
sition Universelle,  Paris,  1900.  Member  of  the  Societe 
Nationale  des  Beaux-Arts  and  of  the  Societe  des  Artistes 
Franqais,  Paris;  Secession  Society,  Vienna;  Secession 
Society,  Berlin;  and  the  Societe  Nouvelle,  Paris.  Repre- 
sented in  the  Luxembourg,  Paris;  the  Metropolitan  Museum 
of  Art,  New  York;  the  Pennsylvania  Academy  of  the  Fine 
Arts,  Philadelphia;  Carnegie  Institute,  Pittsburgh;  Museum 
of  Fine  Arts,  Nancy,  France;  Museum  of  the  Hotel  de  Ville, 
Paris;  National  Museum,  Stockholm;  Museum  of  Art, 
Christiania;  and  in  the  private  collections  of  Roland  Knoed- 
ler,  Esq.,  Georges  Durand-Ruel,  Esq.,  New  York,  and  Mrs. 
W.  S.  Kimball,  Rochester,  New  York. 

123  Les  Champs  Elysees,  Paris 

124  Les  Champs  Elysees 

Lent  by  Messrs.  Knoedler  & Co.,  New  York 

125  Landscape 

Lent  by  Durand-Ruel  & Son,  New  York 

AUGUSTE  RODIN  (Sculptor) 

Auguste  Rodin  was  born  in  Paris,  November  14,  1840,  in 
a family  of  the  poorer  working  classes.  At  the  age  of 
fourteen  he  entered  a small  school  of  art  in  the  Ecole  de 
Medicine,  and  in  addition  drew  and  studied  in  the  Louvre, 
and  at  the  Gobelin  in  the  evening.  He  also  entered  a class 
at  Barye’s  in  the  Jardin  des  Plantes.  “Barye,”  he  says, 
“did  not  teach  us  much,  he  was  always  tired  and  worried 
when  he  came.”  Because  it  was  necessary  to  earn  a living. 
Rodin  worked  for  a maker  of  ornaments  during  this  period 
of  desperate  industry.  In  1864,  he  became  a pupil  and 
assistant  of  Carriere-Belleuse  and  remained  with  him  six 
years,  during  which  time  he  sent  the  magnificent  head 
known  as  “The  Man  with  a Broken  Nose”  to  the  Salon  of 
1864.  It  was  refused.  He  also  applied  thrice  for  admission 
to  the  Ecole  des  Beaux-Arts  and  was  thrice  refused. 

In  1879,  Rodin  removed  to  Brussels,  where  he  remained 
for  seven  years,  working  under  Van  Rasbourg,  the  Belgian 
sculptor.  During  this  time  he  gained  a thorough  knowledge 
of  the  Flemish  Primitives,  and  the  gothic  masters  whicn, 
with  the  art  of  the  best  Greek  Periods,  and  Michael  Angelo, 
so  greatly  influenced  his  work.  “In  Brussels,”  he  says,  “I 
learned  how  to  wait.  It  is  the  great  secret.”  These  seven 
years  formed  a sort  of  spiritual  retreat  w^hich  enabled  him 
to  And  himself  intellectually,  and  to  live  quietly  and 


60 


Exhibition  of  the  Societe  des  Peintres  et  des  Sculpteurs 


decently  in  peaceful  surroundings.  No  work  of  his  own 
is  known  through  all  this  astonishing  apprenticeship  of 
twenty  years,  with  the  single  exception  of  “The  Man  with  a 
Broken  Nose.”  This  was  finally  accepted  by  the  Salon  of 
1876.  Rodin  then  returned  to  Paris  and  in  1877  sent  to  the 
Salon  of  that  year  the  nude  figure  of  a young  man  entitled 
“The  Age  of  Brass.’’  It  was  accepted,  but  the  jury,  aston- 
ished and  perplexed  by  the  wonderful  accuracy  of  the 
modeling  in  the  work  of  an  “unknown,”  accused  the  sculp- 
tor of  having  cast  his  statue  from  the  mold  of  a living 
figure.  Rodin  protested  indignantly,  aided  by  three  sculp- 
tors, Desbois,  Fagel,  and  Leferre;  critics  took  up  the  ques- 
tion, which  was  virtually  settled  by  the  purchase  of  “The 
Age  of  Bronze”  for  the  Luxembourg,  where  it  now  stands. 

In  1880,  with  “St.  John  the  Baptist”  (also  in  the  Luxem- 
bourg), Rodin  emerged  finally  and  definitely  from  obscurity, 
and  became  the  Rodin  of  today,  whose  dominance  in  the 
world  of  art  can  only  be  likened  to  that  of  Michael  Angelo 
some  few  centuries  before. 

Short,  thickset,  slow,  modest,  silent,  wholly  absorbed  in 
his  art,  he  is  seldom  to  be  met,  passing  his  time  between 
his  home  at  Meudon  and  his  studio  in  the  Rue  de  l’Univer- 
site;  nor  have  occasional  trips  to  London,  Prague,  Germany, 
and  Italy,  interferred  with  his  busy  seclusion,  from  out  of 
which  (we  quote  a recent  French  article)  he  sends  exhibits 
to  the  Salon,  which  rival  the  most  beautiful  fragments  of 
antiquity,  nor  of  late  years  has  France  refused  him  her 
entire  sympathy  and  support,  with  the  disconcerting  excep- 
tion of  the  Balzac  of  1897.  In  1900,  his  entire  works  were 
collected  under  a separate  pavilion,  at  the  exhibition  of  the 
Bond-point  de  l’Alma,  and  his  position  was  at  once  re- 
affirmed and  explained  by  this  truly  noble  and  astonishing 
exhibit.  He  is  further  a high  dignitary  of  the  Legion 
d’Honneur.  President  des  Juges  of  the  Societe  Nationale 
and  successor  to  Whistler  as  President  of  the  International 
Society  of  Artists — this  last  one  of  the  highest  tributes  to 
genius  it  lies  in  the  power  of  his  brother  artists  to  bestow, 
being,  as  it  is,  an  honor  arbitrary  of  artists  alone  and  uncon- 
nected with  any  official  or  civic  position. 

He  is  surrounded  by  the  warm  and  sympathetic  devotion 
of  many  of  the  younger  artists,  some  of  whom  are  his  pupils, 
distinguished  artists  themselves.  Further,  no  personality 
of  our  time  has  more  occupied  the  best  literary  minds  of 
the  day,  and  of  late,  in  consequence,  no  man  has  been  more 
written  about.  This  has  sometimes  been  used  as  a term  of 
reproach,  Rodin  being  styled  too  literary;  but  he  explains 
smilingly:  “I  do  not  admit  that  thought  should  be  excluded 

from  art,  providing  it  is  clothed  in  a workman-like 
plastique”  (une  belle  plastique).  “First,  let  them  accuse 
me  of  badly  modeled  arms  and  legs  and  then — 


Cl 


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St.  Louis 


And  it  is  in  this  combination  of  superb  and  touching  ideal- 
ism (to  which  in  his  modesty  and,  perhaps,  suspicion,  he 
lays  no  claim)  with  his  supreme,  dominant,  unchecked, 
unquestioning  realism  (in  which  he  glories)  that  Rodin 
stands  unrivaled.  “I  am  under  orders  to  Nature,”  he  says. 
“Nature,  it  is  all  there.  The  artist  has  only  to  concern  him- 
self with  sang.” 

A magnificent  series  of  drawings,  yearly  becoming  more 
famous,  peculiarly  reveals  us  to  Rodin,  the  thinker  and 
student  at  work  for,  one  had  almost  written  with,  himself. 
They  bid  fair  to  take  a place  in  art  approximate  to  that  of 
the  etchings  of  Rembrandt,  as  compared  to  the  bulk  of  the 
work  of  the  great  Dutchman,  though  admittedly  more 
curious  and  more  intimate.  They  are  above  all  concerned 
with  the  movement  of  the  living  model  in  action,  which 
explains  their  over-lacking  outlines.  Drawn  with  great 
haste,  the  hand  has  often  followed  the  changing  outline 
actually  in  flight. 

126  Danaide  (Marble) 

Lent  by  Cottier  & Co.,  New  York 

127  The  Sphinx  (Marble) 

Lent  by  Mrs.  Eugene  Meyer,  New  York 

128  The  Kiss  (Bronze) 

Lent  by  Mrs.  Eugene  Meyer,  New  York 

129  Bust  of  Mirabeau  (Bronze) 

130  Bust  of  Dalon  (Bronze) 

131  The  Hand  of  Man  (Bronze) 

Above  three  bronzes  personally  sent  by  Mon- 
sieur Rodin  to  the  present  exhibition 

132-137  Six  drawings 

Lent  by  Mrs.  Eugene  Meyer,  New  York 

138  Colored  Drawing 

Lent  by  Mrs.  Porter  Norton,  Buffalo 


LUCIEN  SIMON 

Lucien  Simon  was  born  in  Paris,  July  18,  1861.  His 
family  belonged  to  the  refined  and  well-to-do  bourgeoisie 
from  which  have  sprung  so  many  artists  and  men  of  literary 
renown. 

The  house  in  the  Rue  Cassette  in  which  he  lived  was 
encircled  by  gardens;  the  only  sounds  to  be  heard  were 
those  of  bells,  to  which  during  the  spring-time  were  joined 
the  cries  of  the  swallows.  In  this  quiet  environment  his 
infancy  was  passed. 


LUCIEN  SIMON 


63 


The  City  Art  Museum 


St.  Louis 


When  he  was  old  enough  to  receive  instruction  he  went 
first  to  school  and  later  to  the  Lycee  Louis-le-Grand. 

During  his  school  career  his  tastes  led  him  quite  as  much 
toward  a literary  as  an  artistic  life,  and  he  thought  seri- 
ously of  following  the  scientific  career  of  his  brother  Eugene 
Simon,  who  had  already  made  a name  for  himself  as  a 
naturalist.  However,  he  had  at  this  time  the  misfortune 
to  lose  his  father,  and  being  allowed  by  his  mother  free- 
dom in  his  choice  of  a career,  decided  to  devote  himself  to 
painting.  Already  Jules  Didier  had  given  him  some  les- 
sons; and  now  he  enrolled  himself  as  a pupil  at  the 
Academie  Julian.  Not  long,  however,  did  he  continue  there, 
for,  making  the  acquaintance  of  Rene  Menard  and  other 
brother  artists,  he  invited  them  to  meet  weekly  at  his 
house,  and  not  they  only  but  poets,  musicians,  and  dramatic 
authors  here  gave  voice,  each  to  his  peculiar  talent. 

At  this  time,  the  realistic  influence  of  Zola  and  Maupas- 
sant was  at  its  height,  and  made  itself  strongly  felt  among 
those  who  gathered  at  the  home  of  Lucien  Simon.  The 
artist  at  this  time  painted  “L'Homme  qui  court  apres  la 
Fortune”  and  several  other  important  works.  In  1890,  he 
married  the  sister  of  Andre  Dauchez;  his  young  wife  appre- 
ciated art  in  all  its  phases,  and  made  the  former  studio  of 
her  husband  a home  as  well  as  a workshop  and  gathering 
place  of  beautiful  objects.  Here  she  brought  her  seven 
brothers  and  sisters  and  these  Simon  painted  as  well  as 
educated  and  cherished.  Then  a baby  came,  and  Simon 
expressed  his  paternal  emotion  in  the  picture  “Les  Miens.” 

He  took  his  family  to  pass  the  summer  in  Brittany,  and 
these  months  mark  a new  epoch  in  his  career;  Brittany  was 
revealed  to  him,  and  this  revelation  he  imparts  to  us  in  his 
pictures;  from  now  on  the  history  of  Lucien  Simon  becomes 
that  of  his  works. 

In  1893,  he  left  the  Salon  des  Artistes  Frangais  for  the 
Societe  Nationale  des  Beaux-Arts;  here  his  talent  felt  more 
at  ease  and  to  the  semi-success  which  his  previous  work 
had  met  succeeded  a constantly  growing  favor. 

In  1900,  he  received  a gold  medal  and  the  cross  of  the 
Legion  d’Honneur;  but  the  brevity  of  this  study  forbids  a 
list  of  all  his  works  and  the  honors  received.  Several  years 
ago  he  took  an  enviable  place  in  the  Societe  Nouvelle  which, 
at  first  under  the  presidency  of  Gabuil  Monrey  and  later  of 
Auguste  Rodin,  exhibits  at  the  Georges  Petit  Galleries. 
Here  are  found  some  of  the  most  characteristic  painters  of 
our  time.  Simon  has  also  exhibited  at  the  International 
Society  in  London  and  the  Secessionist  Societies  at  Berlin 
Munich,  and  Vienna. 


64 


Exhibition  of  the  Societe  des  Peintres  et  des  Sculpteurs 


At  forty-eight  years  of  age  his  work  has  gained  for  him 
the  right  to  rest;  but  he  feels  he  has  still  much  to  say  and 
his  labor  has  never  been  more  incessant.  He  is  above  all 
a painter  of  the  family  and  of  Brittany,  though  he  often 
represents  Parisian  scenes  and  the  life  of  a crowd.  This 
variety,  with  enthusiasm,  unite  to  make  Lucien  Simon  one 
of  the  most  living  artists  of  our  time. 

139  Comedy 

140  Summer  Day 

Lent  from  the  Luxembourg  Gallery,  Paris, 
through  the  courtesy  of  Leonce  Benedite, 
Director,  and  the  French  Government 

141  Breton  Inn 

Lent  by  Hamilton  Easter  Field,  Esq.,  New  York 

142  A Head 

Lent  by  John  W.  Alexander,  President  of  the 
National  Academy  of  Design,  New  York 


PAUL  TROUBETZKOY  (Sculptor) 

Paul  Troubetzkoy,  the  creator  of  the  spirited  and  graphic 
phase  of  modern  sculpture,  was  born  February  16,  1866,  at 
Intra,  Lago  Maggiore.  The  second  son  of  Prince  Pierre 
and  Princess  Ada  Troubetzkoy,  nee  Winans,  his  childhood 
and  youth  were  passed  amid  the  picturesque  surroundings 
of  his  birthplace,  where  nature  and  art  seem  to  have 
achieved  their  own  indissoluble  unity  of  form  and  color. 
The  boy’s  artistic  instincts  manifested  themselves  at  the 
conspicuously  early  age  of  six,  that  which  first  aroused  his 
interest  in  such  matters  being  the  visit  to  the  family  home 
of  a well-known  Italian  portraitist,  who  was  engaged  in 
painting  likenesses  of  his  parents.  Although  he  was  fond 
of  drawing,  it  was  sculpture  that  attracted  him  most. 

He  studied  for  a time  under  Barcaglia,  but  being  essen- 
tially restless  and  independent  of  temperament,  left  after 
a few  days  and  joined  the  classes  of  Ernesto  Bazzaro  at 
the  Brera. 

His  first  important  appearance  was  in  1886,  at  the  Palazzo 
di  Brera,  when  he  exhibited  the  figure  of  a horse,  which 
despite  its  freedom  of  execution,  was  well  received,  but  it 
was  not  until  1894,  when  his  “Indian  Scout’’  was  seen  in 
Rome,  that  he  achieved  what  may  be  called  substantial 
public  recognition. 

Flattering  as  has  been  his  reception  at  Venice  and  Rome, 
it  was  nevertheless  far  eclipsed  by  the  recognition  accorded 
his  art  the  following  year  on  the  occasion  of  the  Exposition 


The  City  Art  Museum 


St.  Louis 


of  1900.  Represented  in  both  the  Italian  and  Russian  sec- 
tions, Prince  Troubetzkoy’s  triumph  at  Paris  was  second 
to  that  of  no  other  single  individual.  In  the  former  group 
he  easily  held  his  own  beside  his  colleagues,  Trentacoste 
and  Romanelli,  and  though  in  the  Russian  section  his  work 
was  exhibited  along  with  that  of  such  acknowledged  mas- 
ters as  Antokolsky,  Ginsburg,  and  Bernstamm,  it  was  he 
who  carried  off  the  Grand  Prix.  The  eloquent  bust  of  the 
lately-deceased  painter  Giovanni  Segantini  was  the  most 
important  of  his  three  contributions  to  the  art  of  the 
country  of  his  birth. 

Prince  Troubetzkoy  has  been  a Chevalier  de  la  Legion 
d’Honneur  since  1900,  has  won  gold  medals  in  Rome,  Dres- 
den, Berlin  and  elsewhere,  and  figures  in  the  permanent 
galleries  of  such  cities  as  Rome,  Leipsig,  Berlin,  Milan, 
Dresden,  Moscow,  St.  Petersburg,  Paris,  San  Francisco,  and 
Buffalo.  He  is  furthermore  a member  of  the  Societe 
Nationale  des  Beaux-Arts,  the  Societe  Nouvelle,  the  Societe 
du  Salon  d’Automne  in  Paris,  the  Dresden  and  Munich 
Secession  Societies  and  the  International  Society  of  Sculp- 
tors. Painters,  and  Gravers,  in  London.  He  exhibited  at 
the  Paris  Exposition  of  1900,  the  Autumn  Salons  of  1904 
and  1909,  and  in  Venice  the  same  year. 

In  order  to  complete  the  chronolgy  of  Prince  Troubetz- 
koy's  productions  it  only  remains  to  recall  his  appearance 
at  the  World’s  Columbian  Exposition  at  Chicago,  in  1893, 
where  he  was  represented  by  his  sketches  for  the  Dante 
and  Garibaldi  monuments,  by  two  versions  of  his  “Indian 
Scout,”  and  five  additional  pieces,  some  of  which  were  later 
purchased  for  the  Golden  Gate  Art  Museum  of  San  Fran 
cisco. 

Considering  his  position  and  reputation  in  Paris,  it  would 
have  been  singular  had  the  art  of  Prince  Troubetzkoy  re- 
mained unknown  to  those  Americans  who  habitually  fre 
quent  the  French  capital,  and  it  is  thus  a pleasure  to  note 
that  among  those  from  this  side  of  the  water  who  have 
already  sat  to  him  for  their  portraits  are  Mrs.  Vanderbilt 
and  her  daughters;  Mr.  W.  K.  Vanderbilt,  and  Mrs.  Harry 
Payne  Whitney.  In  addition  to  these,  he  had  previously 
found  in  his  own  family  two  American  women  who  natur- 
ally proved  sympathetic  subjects— his  mother,  of  whom  he 
has  executed  a delicate  and  penetrating  seated  likeness, 
and  his  sister-in-law,  Princess  Amelie  Troubetzkoy,  nee 
Reeves,  wife  of  the  portrait-painter  who  has,  for  the  last 
few  years,  made  his  home  in  New  York. 

143  Portrait  of  Baron  Rothschild  (Bronze) 

144  Portrait  of  Monsieur  Errazuriz  and  his  Daugh- 

ter (Plaster) 


06 


Exhibition  of  the  Societe  des  Peintres  et  des  Sculpteurs 


145  Portrait  Statuette  of  Gabriel  D’Annunzio 

(Bronze) 

146  Portrait  Statuette  of  Auguste  Rodin  (Plaster) 

147  Portrait  Statuette  of  Monsieur  Xelidow  (Plas- 

ter) 

148  Young  Woman  Seated  with  Dog  (Bronze) 

149  Indian  on  Horseback  (Bronze) 

150  Cowboy  on  Horseback  (Bronze) 

151  Indian  at  the  Side  of  his  Horse  (Bronze) 

152  Indian  Standing  (Bronze) 

RAOUL-ANDRE  ULMANN 

Raoul-Andre  Ulmann  was  born  in  Paris.  1867.  Studied 
in  Paris.  Represented  in  the  collections  of  the  Musee  de 
Luxembourg;  Musee  de  Bayonne;  Musee  de  Saint-Etienne; 
Memorial  Hall.  Philadelphia;  Pennsylvania  Academy  of 
the  Fine  Arts,  Philadelphia;  Musee  de  Carnavalet.  Mem- 
ber of  the  Societe  Xationale  des  Beaux-Arts.  and  the 
Societe  Xouvelle,  Paris. 

153  Evening  on  the  Zaam 

Lent  by  Georges  Petit  Galleries 

154  The  Quai 

Lent  by  Georges  Petit  Galleries 
Foggy  Morning 

Lent  by  Georges  Petit  Galleries 


155 


The  City  Art  Museum 


St.  Louis 


NON-MEMBERS  OF  THE  SOCIETE  NOUVELLE 


EMILE  BOURDELLE  (Sculptor) 

Emile  Bourdelle  was  born  at  Montauban  in  1861.  Studied 
first  at  Toulouse,  then  under  Rodin.  Represented  in  the 
Berlin  Museum. 

156  Head  of  Beethoven 


GEORGE  DESVALLIERES 

George  Desvallieres  was  born  in  1861  at  Paris  and 
studied  under  Delaunay  and  Moreau.  His  first  exhibition 
at  the  Salon  was  as  early  as  1883,  and  in  1894  he  won  a 
second  medal  by  two  portraits  of  women. 

He  is  represented  at  Nimes,  Bordeaux,  and  by  several 
pictures  in  the  Luxembourg. 

Desvallieres’  work  is  simple  in  conception  and  execution, 
and  pleases  by  its  directness  and  sureness  of  touch.  His 
picture  of  “Rolla,”  for  example,  fits  his  tormented  and 
melancholy  imagination,  and  also  his  group  of  “Christ  and 
Magdalene,”  with  its  desolate  rusty  color,  its  falling  lines, 
its  gestures  of  refuge,  protection,  and  pity,  has  much  of 
pathos  and  grandeur;  but  neither  are  so  well  done  as  his 
tranquil  and  melancholy  portrait  of  a woman  in  purple  and 
gray,  sober  in  execution  and  admirable  in  analysis,  which 
he  showed  in  1905,  at  the  Pastellists’  exhibition.  In  fact, 
with  all  his  varied  work,  as  studies  in  expression  and 
ensemble,  the  artist  has  certainly  succeeded  in  giving  the 
desired  effect. 

157  Girl  in  Black 

158  Corner  of  an  Antichamber 

159  Nudes 

The  foregoing  three  pictures  are  lent  through 
the  courtesy  of  M.  Leonce  Benedite,  Director 
of  the  Luxembourg- 

160  The  Seamstress 

Lent  by  Hamilton  Field,  Esq.,  New  York 


68 


Exhibition  of  the  Societe  des  Peintres  et  des  Sculpteurs 


FIX-MASSEAU  (Sculptor) 

(No  biographical  data  at  hand.) 

161  Head  of  Beethoven 

Lent  by  Victor  Harris,  Esq.,  New  York 


LOUIS- AUGUSTE  LEPERE 

Born  in  Paris,  1849. 

162  Landscape 

Lent  from  the  Luxembourg  Gallery,  Paris, 
through  the  courtesy  of  Leonce  Benedite, 
Director,  and  the  French  Government 


70 


RENE-XAVIER  PRINET 


71 


LOUIS  AUGUSTE  LEPERE 


72 


Portrait  of  the  Marquis  of  Granby 


73 


HENRI  MARTIN 


74 


HENRI  DUHEM 

65  The  Flock  Passing  the  Road,  at  the  Rise  of  the  Red  Moon 


Lent  by  Georges-Petit  Galleries 


76 


JAMES  WILSON  MORRICE 


139  Comedy 


LUCIEN  SIMON 


77 


u 

z 

s 

Oh 

w 

X 

H 

b 

O 

H 

35 

> 

w 

ffi 

H 


78 


GASTON  LA  TOUCHE 


79 


ANDRE  DAUCHEZ 


80 


EMILE  CLAUS 


81 


Lent  by  Cincinnati  Museum  Association 


82 


Lent  by  the  Mount  Royal  Club.  Montreal 


GEORGE  DESVALLIERES 

157  Girl  in  Black 


83 


84 


RAOUL-ANDRE  ULMANN 


PAUL  ALBERT  BESNARD 
16  Portrait  of  Ex-Senator  William  A.  Clark 

Lent  by  William  A.  Clark,  Esq, 


85 


PRINCE  PAUL  TROUBETZKOY 
145  Portrait  Statuette  of  Gabriel  D’Annunzio  (Bronze) 


86 


ANTONIO  DE  LA  GANDARA 
74  Portrait  of  Miss  D. 


87 


88 


EMILE-RENE  MENARD 


JOHN^W.  ALEXANDER 
At  the  Window 


1 


90 


Lent  from  the  Luxemburg  Gallery,  Paris 


MLLE.  JEANNE  POUPELET 
119  Rabbit.  (Bronze) 


91 


■ 


92 


CHARLES  COTTET 


EUGENE  LAGARE 

80  Head  of  a Young  Girl 


93 


LOUIS  DEJEAN 

63  The  Woman  and  the  Source  (Wax) 


94 


CHARLES  ALBERT  DESPIAU 
64  Torso  of  a Bacchante  (Bronze) 


95 


INSTALLATIONS  IN  THE  ART  MUSEUM 


CURRENT  SPECIAL  EXHIBITIONS 

Exhibition  of  Works  by  Members  of  the  Societe  des  Pein- 

tres  et  des  Sculptenrs galleries  18,  19,  30  and  31 

Central  American  Antiquities  (Expedition  of  the  St.  Louis 

Society  of  the  Archaeological  Institute  of  America),  .gallery  12 


OTHER  COLLECTIONS 

Paintings  lent  by  Mr.  George  B.  Leighton gallery  14 

Paintings  belonging  to  the  W.  K.  Bixby  American  Art  Acquisi- 
tion Foundation gallery 

Other  paintings,  in galleries  16,  32,  2,  3,  6,  7,  14,  15,  22,  23  and 

Drawings  and  sketches galleries  4,  6 and  9 

Etchings  by  Joseph  M.  Pennell  and  C.  F.  W.  Mielatz. . . .galleries  20  and  25 

Arundel  prints,  of  masterpieces  of  painting gallery  1 

Greek  sculpture galleries  17  and  24 

Roman  and  Renaissance  sculpture gallery  8 

and  northwest  alcove  of  central  sculpture  hall. 

Modern  sculpture,  principally  installed  in  the  central  sculpture  hall. 
Antique  and  classic  bronzes,  installed  decoratively  in  various  galleries. 

Egyptian  and  Assyrian  antiquities,  including  sculpture gallery  21 

Medallions  in  cases gallery  1 

Japanese  and  Chinese  Art,  chiefly  in ...galleries  6 and  7 

also galleries  13  and  1 

Metal  work,  chiefly  in gallery  29 

also galleries  15  and  1 

Pottery,  etc.,  chiefly  in gallery  13 

Glass ...galleries  13  and  20 

also galleries  21,  23,  1.  6,  7,  etc. 

St.  Elizabeth  Mosaics  (presented  by  Mr.  Adolphus 

Busch,  1905) central  sculpture  hall 

Fabrics,  etc.,  chiefly  in galleries  29  and  7 

also  in  Indian  and  other  collections. 

American  Indian  Handiwork— 

The  Dyer  Collection galleries  5,  4 and  9 

The  Andrews  Collection  and  other  exhibits galleries  1 and  4 

Louisiana  Purchase  Exposition  Memorial  Collection,  lent  by 

Hon.  David  R.  Francis galleries  10  and  11 

Architectural  models,  etc galleries  17  and  8 

and  central  sculpture  hall. 


